Differentiated Instruction for Advanced Students With Answer

Advanced Students

Differentiated Instruction for Advanced Students, British Tradition

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iii EMC Publishing, LLC BR TRADITIONDifferentiated Instruction for Advanced Students

CONTENTS

Introduction vi

Unit 1 The Conversion of King Edwin, from Ecclesiastical History of the English People 1 Historical Context Project: The Early Middle Agesfrom Beowulf 2 Literary Form Activity: Epics The Head of Humbaba, from Gilgamesh 5 World Literature Study: Folk Epics of the WorldThe Seafarer 7 Comparing Literature Activity: Find Points of Comparison and Contrast

Unit 2 Bonny Barbara Allan 8 Literary Form Activity: Experiment with Poetic FormThe Prologue, from The Canterbury Tales 9 Literary Connection Study: The Frame Talefrom Everyman 10 Archetypal Character Study: EverystudentFederigos Falcon, from The Decameron 12 World Literature Project: Familiar Motifs

Unit 3 Whoso list to hunt / With how sad steps 13 Literary Form Study: The SonnetLet me not to the marriage of true minds (Sonnet 116) 15 Literary Criticism Activity: An Authors Life and TimeThe Passionate Shepherd to His Love / The Nymphs Reply to the Shepherd 16 Comparing Literature Activity: A Fictional DialogueEves Apology in Defense of Women, from Salve Deus Rex Judaeorum 18 Literary Response Project: Responding as a Group

Unit 4 The Tragedy of Macbeth 19 Historical Context Project: Witchcraft in Renaissance Britainfrom The Analects 21 World Literature Study: Studies in Leadershipfrom The Tragical History of Doctor Faustus 22 Literary Connection Activity: Genesis and the Faustian BargainMonologues and Soliloquies from Shakespeares Plays 23 Comparing Literature Activity: Monologues and Soliloquies

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Unit 5 How soon hath Time (Sonnet VII) 24 Primary Source Study: Literature as a Primary Sourcefrom Oroonoko 25 Cultural Connection Study: Kingdoms of West Africa from The Diary of Samuel Pepys / from A Journal of the Plague Year 26 Literary Form Project: The Diaryfrom The Diary of Fanny Burney 28 Informational Text Activity: Answering Questions Asked by a Text

Unit 6 Kubla Khan 29 Historical Context Activity: Reinventing the PastShe Walks in Beauty 30 Authors Style Study: Analyzing Byrons StyleThe Lorelei 31 World History Activity: History Tour of the Rhinefrom Introduction to Frankenstein 32 Literary Context Study: Gothic Fiction

Unit 7 from Great Expectations 34 Literary Form Study: Characters in a NovelThe Lagoon 35 Theme Study: Implied ThemesThe Lady of Shalott 37 Art Connection Project: Pre-Raphaelite PaintingWhen I Was One-and-Twenty 39 Music Connection Activity: Music and Poetry

Unit 8 The Rising of the Moon 41 Primary Source Project: Theater Reviewsfrom A Room of Ones Own 42 Literary Criticism Activity: A Womans VoiceThe Music of Poetry 44 Literary Connection Project: Sound, Sense, and NonsenseWar Poet / Words 46 Comparing Literature Activity: War Poetry

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v EMC Publishing, LLC BR TRADITIONDifferentiated Instruction for Advanced Students

Unit 9 Shooting an Elephant 47 Historical Context Activity: Britains EmpireDo Not Go Gentle Into That Good Night 48 Literary Form Study: Reconstruct a Villanellefrom Balzac and the Little Chinese Seamstress 49 World Literature Activity: Political OppressionDead Mens Path 50 Cultural Context Project: Indigenous Rights

Answer Key 52

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BR TRADITIONvi EMC Publishing, LLCDifferentiated Instruction for Advanced Students

Introduction

Universities and employers have found that many incoming students and entry-level employees lack the reading and writing skills needed to succeed in their new endeavors. Some blame this problem on a lack of rigor in the language arts programs at the high school level. Studies show that most students want to be challenged to gain the high-level skills that will help them succeed in college and in the workplace. This is especially true for advanced students. Differentiated Instruction for Advanced Students provides multiple opportunities to engage students and to teach them the skills necessary to excel in college-level, literature-based reading, thinking, discussion, and writing tasks. This supplement contains extended lessons for four selections from each unit in the Mirrors & Windows: Connecting with Literature Student Edition. These lessons integrate a variety of resources and media to help students analyze, compare, and appreciate literature from diverse cultures. The activities are designed to prepare students to move beyond a basic understanding of what is occurring in the literary text. Knowledge of characters, plot, and theme becomes the starting point rather than the goal. Students are challenged to extend their comprehension skills and to focus on critical analysis. Each lesson focuses on a particular selection in the textbook. The lesson expands on an aspect of that selection, often in many cases taking students outside the textbook and connecting them with other pieces of literature or fields of study. Students are then asked to respond by creating products, such as written essays and research papers, multimedia presentations, and works of art and performance. A broad range of activities are offered to motivate students and encourage independent inquiry and learning, literary analysis and criticism, genre study, and in-depth exploration of primary sources and informational texts. Differentiated Instruction for Advanced Students provides students with opportunities to hone their reading, writing, and research skills as they explore the rich world of literature and beyond. The activities are not busywork, but meaningful exercises of the mind that build skills students will need as they progress through college and careers. The assignments help students become deep thinkers, critical readers, and independent problem-solvers. As they are challenged to meet higher expectations, they will come closer to realizing their ever-expanding potential. In addition to the wealth of meaningful lessons in this book, you will find enrichment activities for every literature selection in the Differentiated Instruction boxes located in the bottom margins of the Annotated Teachers Edition.

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1 EMC Publishing, LLC BR TRADITION, UNIT 1Differentiated Instruction for Advanced Students

The Conversion of King Edwin from Ecclesiastical History of the English People, page 11

HISTORICAL CONTEXT PROJECT

The Early Middle Ages

Saint Bede the Venerable lived during the Early Middle Ages, a period that began in about 476 ce. The period was once called the Dark Ages because of the relative lack of written history. Literacy and security declined throughout Europe. From a historical point of view, things fell silent. In reality, though, life during the Early Middle Ages was far from quiet. Wars spread like bushfires as local and national leaders rose and fell. The Catholic Church maintained a vigorous spiritual and artistic life in its many monasteries. Of course, ordinary people did what people always doworking hard to improve their lot and enjoying life whenever possible. In this project, you will work with a group to cast a little light on the so-called Dark Ages.

Organize and Research

For this activity, think of the Early Middle Ages as if it consisted of concentric circles. In the central circle is the Venerable Bedeor another such monkaround the year 700 ce. Encircling him are the farms, villages, and castles of rural England. A larger circle still encompasses all of Britain, where warring nations fight for supremacy. The fourth and largest circle encompasses life in the European continent. Work with three other students to research the following topics, each representing a circle described above. Have each group member research one topic. The Monasteries. What was the importance of the monasteries? What was life

like inside them? Domestic Life in England. How did people live outside the sheltered

monasteries? How was society organized? Britain as a Whole. What people had invaded and settled Britain? Where did

they live? Who held the power? The Shape of Europe. What was happening on the continent? What great

leaders had emerged? What countries had formed or fallen apart? Research and take notes on your topic. Then share your findings with your group. Your groups assignment will be to present to your class an overview of Britain and Europe during the Early Middle Ages. See Language Arts Handbook 7.3, Collaborative Learning and Communication, in your textbook, for guidelines on creating a group project.

Present

Choose a way to present your knowledge of the Early Middle Ages to your classmates. Instead of reading four reports, endeavor to entertain your audience. Consider using one of the following methods: a panel discussion; a PowerPoint presentation; a question-and-answer session; a scripted and filmed student documentary; or a series of interviews with experts from the period.

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from Beowulf, page 23

LITERARY FORM ACTIVITY

Epics

Beowulf is widely acknowledged as one of the finest epics in recorded history. An epic is a long narrative poem that portrays the heroic acts of legendary figures and mythical gods. This type of poem follows the format of a narrative or story, with characters, setting, plot, and conflict, but its purpose is more than just entertainment. With its roots in the oral tradition of storytelling, an epic also reflects a period of history and therefore provides a portrait of an entire cultures legends, beliefs, laws, arts, and ways of life.

Epic Hero

Central to the narrative of an epic is the main character, known as the epic hero. An epic hero is an archetype, or a type of character that has appeared in the literature of the world from ancient times until today. Historically, an epic hero was a male of royal lineage who possessed certain personal qualities that helped him, and sometimes hindered him, in his quest to conquer evil. More frequently in contemporary literature, the hero is a woman. Below is a list of these common epic hero qualities: courage resourcefulness vulnerability integrity intelligence resilience arrogance or pride physical strength sacrifice altruism faithfulness leadership Although epic heroes embody these human characteristics, they appear larger-than-life because they also have extraordinary or supernatural abilities that allow them to conquer monsters and other villains. Contemporary literature is filled with heroes modeled after this archetype, including Harry Potter in the Harry Potter series and Frodo in Lord of the Rings. Some consider Joan of Arc to be an epic hero. Movies, such as Braveheart, Gladiator, Rob Roy, Spartacus, and Star Wars, also pay homage to the epic hero.

Epic Hero Cycle

In addition to the archetypal epic hero, the structure of an epic follows a distinctive pattern known as an epic hero cycle. In an epic hero cycle, the hero is charged with a quest that tests his or her worthiness. This quest typically involves a battle with an evil force. Along the journey, the hero is assisted by many mythical creatures and typically enters a supernatural world. Just when the hero feels defeated, the heros fortitude is resurrected, and the hero takes his or her place on the family throne.



Get Started

In this lesson, you are being charged with your own quest: to write and illustrate a childrens book that models an epic tale. Your target audience should be between the ages of seven and eleven. Remember to keep the words and actions of the story appropriate for the particular age or ages you choose. For inspiration, take a look at the following childrens books that have used a similar epic model: Saint George and the Dragon, by Margaret Hodges; The Hero Beowulf, by Eric Kimmel; Odysseus in the Serpent Maze, by Jane Yolen; Beowulf, by Gareth Hinds; and The Maiden of Northland, by Aaron Shepard. To get started, consider the following questions and write the answers in the spaces allowed:

Questions Answers

1. Who will be the hero of your tale? Do you want it to be a person (male or female), an animal, or some other type of creature? What will the hero look like? What personal qualities of the hero will be revealed at different places in your tale?

2. What will be the setting of your story? How will the setting reflect the culture?

3. What will be the heros quest? What mythical gods or goddesses will guide the journey?

4. What obstacles will the hero need to overcome in the journey? What mythical creatures will help the hero along the way?

5. What main battle will occur where good will triumph over evil?

6. What will happen to the hero at the end of your tale?

Outline the Story

An epic follows a certain format, as outlined in the graphic organizer beginning below. Briefly fill in details for your tale.

Format Details

Invocation: Introduce the epic hero and the quest or adventure that the hero has been charged with completing. The invocation also calls on a muse or god to inspire divine intervention in the narrator as he tells the tale.



Format Details

In Medias Res: Begin the tale in the midst of action or in medias res, with the epic hero well into his journey. Start with a heroic main action and introduce an evil force. Add helpful companions or creatures who will aid the epic hero.

Flashbacks: Fill in incidents that preceded the main action; add other helpers who will battle alongside the epic hero.

Point of Defeat/Resurrection: Have the epic hero feel defeated but put aside his feelings and forge ahead in his quest.

Journeys End: Provide closure by revealing what happened to the epic hero at journeys end: The hero either assumes his rightful place on his familys throne or dies and is rewarded spiritually.

Connect and Create

Now you are ready to type your first draft. Use the information from your outline to guide you as you write. Also, keep your audience in mind as you choose your words and construct your sentences. As you are writing, consider adding figures of speech devices that are commonly seen in epics: similes, metaphors, kennings, and alliteration. Another literary device that is typically used in an epic is a boast, in which the epic hero brags about his noble lineage, his accomplished feats, or his personal strengths. Be sure to include a boast in your tale; this will provide the perfect place to incorporate hyperbole, or exaggeration. (To review the elements of an epic, refer to page 22 of your textbook.)

Check and Reflect

Now exchange your story with a classmate to get his or her reaction. Correct any errors in spelling, punctuation, and grammar that your classmate marks on your paper. Then make a final draft of your story.

Publish and Present

Cut apart the typed story line and use a glue stick to paste the copy in a blank book. Allow room for colorful illustrations, and be creative in your approach by using borders, fabric, pop-up figures, craft materials, and so on that will make your book unique. Keep the age of your target audience in mind as you make these additions. When you have finished the book, present your book to a friend or family member as a gift, or donate your book to the library of your local elementary school.


Name: ____________________________________________________ Date: __________________


The Head of Humbaba, from Gilamesh, page 56

WORLD LITERATURE STUDY

Folk Epics of the World

The term world literature is often used to describe epic stories, like Gilgamesh, that are at the heart of a nations history and culture. Although long since written down, these folk epics are based in oral traditions. Some, in fact, are still in the repertoire of professional storytellers. Strangely, apart from a handful of works that have become part of the European canon, most of these epics are still unknown to western readers. In this project, you will work with a partner to study a folk epic and present an oral overview of your selection for your classmates.

Research

Work with a partner to locate several long narrative poems that have their origins in the oral tradition. Using online or print sources, find a list of such epic works. Each partner should choose two titles that interest him or herso that the pair of you study four different epics. Avoid works with which you are already familiar. Read your selected Epics on your own and record concise details about these works on the lines below.

1. Title: ________________________________________________________________________

Origin and History: _____________________________________________________________

_____________________________________________________________________________

Description: __________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

2. Title: ________________________________________________________________________

Origin and History: _____________________________________________________________

_____________________________________________________________________________

Description: __________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

Share your findings with your partner. Compare the merits of the works you investigated and choose one epic that you would like to research together for a joint oral presentation. Ask your teacher how much time you will have for your presentation, and take that into consideration as you plan and prepare.



Prepare

Read the epic you and your partner have chosen to present, taking notes to remind yourself of passages or details that you find striking or important. For your presentation, you will give an overview of your chosen work. This will include a brief history of the work a summary of the narrative a closer look at an important or interesting episode readings from the text to illustrate the episode you have chosen to describe Your main challenge in creating this overview will be keeping it concise. Folk epics are often long and complex. Your summary must stick to the storys main thread and avoid the many digressions that often interrupt works of this sort. Your presentation will be a partnership, with each of you taking a speaking role. Divide the responsibilities, writing an outline of your contents and order of speaking. When you are satisfied with the form of your presentation, prepare notes for your individual contributions. See Language Arts Handbook 7.3, Collaborative Learning and Communication, in your textbook, for additional guidelines on efficient collaboration with a partner to create a presentation.

Practice and Present

Practice your presentation, working to achieve comfort and fluency. Use a stopwatch to help yourselves keep within the allotted time. Work from note cards, not a written script, so that you can address your audience more directly. Read any passages from the text slowly and expressively, keeping in mind that the language and style may be unfamiliar to your audience. See Language Arts Handbook 7.6, Public Speaking, and 7.7, Oral Interpretation, in your textbook, for additional guidelines on public speaking and oral interpretation. After presenting your folk epic, invite your listeners to ask questions about the work.

Reflect

When you have completed your presentation, answer the following questions on a separate sheet of paper:

1. What did you find most interesting or unusual about the work you studied?

2. Think about the presentations about different epics that you heard. What do the epics have in common? Are their themes alike? Do they have the same literary elements?


Name: ____________________________________________________ Date: __________________


The Seafarer, page 61

COMPARING LITERATURE ACTIVITY

Find Points of Comparison and Contrast

Your textbook has paired The Seafarer with another Anglo-Saxon poem, The Wifes Lament. Both poems are elegies, or laments for someone or something that is lost. In addition, both works share a mood of melancholy. There are differences, too. The speaker of The Seafarer is a travel-weary sailor. In The Wifes Lament, a grieving woman tells the story. One speaker is the victim of a harsh physical world; the other suffers from the cruelty of society. Studying literary works in this manner encourages us to look at one work in the light of another. This type of comparison broadens our understanding of the literary works in question. In this project, you will compare and contrast two literary works of yourown choice.

Identify Works for Comparison

Think of a literary work you have read that has some point of comparison with another work you know. This similarity may appear in any literary elementfor instance, theme, mood, figurative language, or characterization. In other ways, the two works may be quite different. Locate copies of both works, and scan the selections. Copy the chart below, and identify the literary elements in each work. You may add elements to the chart. Use the completed chart to identify similarities and differences in the elements.

Work 1 Work 2

Title and author

Genre

Theme

Mood

Figurative language

Characterization

Write, Present, and Reflect

Write an essay comparing and contrasting the two works you have chosen. Make explicit the initial similarities you perceived, and then identify areas of contrast. See Language Arts Handbook 4.1, The Writing Process, in your textbook, for additional information on organizing and drafting an essay. Read your paper in a small group. When all the group members have read their papers, answer the following question on a separate sheet of paper: Do you think the authors of the two works you compared would have appreciated each others writing? Why or why not?


Name: ____________________________________________________ Date: __________________

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Bonny Barbara Allan, page 102

LITERARY FORM ACTIVITY

Experiment with Poetic Form

There is no single correct way to write a poem. The thoughts so concisely expressed by Shakespeare in a sonnet could also be expressed by Walt Whitman in one of his extended and rambling free-verse excursions. The sound and sense of poetry can be squeezed into many different forms. In this activity, you will experiment with poetic forms, using Bonny Barbara Allan as your starting point.

Warm Up: Write a Haiku On an Idea in Barbara Allan

The haiku is a traditional Japanese form of poetry, consisting of only three lines. The first line has five syllables, the second line has seven, and the third has five again. There is no regular meter or rhyme. Your textbook has examples of traditional haikus on page 519. These illustrate the concision and imagery involved in the form, but as they are translated from the Japanese, they are not in strict haiku form. You will find many examples of haiku on the Internet. On your own paper, write a haiku based on an idea or image contained in Bonny Barbara Allan.

Rewrite Barbara Allan

Write an original poem based on the story of Barbara Allan. Use any poetic style you wish except the four-stanza ballad form in which the original is written. (See page 100 of your textbook for features of the traditional ballad.) You need not retell the story exactly but make clear references to events or themes in the original. In searching for a new form, consider the following or choose a format of your own: Tell the story in blank verse, or unrhymed iambic pentameter. (See pages

246247 for a description of iambic pentameter.) Rewrite the ballad in rhyming couplets. Create a free-verse version of the ballad. Compose a sonnet based on the story. (See pages 246247 in your textbook for a

discussion of sonnet form.) Look up any terms unfamiliar to you in the Literary Terms Handbook on page 1296 of your textbook. See pages 2021 in your textbook for a general discussion of poetry.

Stage a Poetry Reading

Participate in a class poetry reading. Because poetic language is sometimes difficult to understand on first hearing, help your listeners by reading clearly and expressively. See Language Arts Handbook 7.7, Oral Interpretation, on page 1289 of your textbook, for guidelines on how to present an oral interpretation of poetry. Afterward, explain how your version differs from the original.


Name: ____________________________________________________ Date: __________________

9 EMC Publishing, LLC Differentiated Instruction for Advanced Students BR TRADITION, UNIT 2

The Prologue, from The Canterbury Tales, page 113

LITERARY CONNECTION STUDY

The Frame Tale

The Canterbury Tales is a collection of stories known as a frame tale, a narrative that provides a vehicle for telling other stories. (That is, within the frame tale, a character or characters tell other stories.) Two other frame talesfamiliar to many readers of European literatureare The Decameron by Boccaccio and One Thousand and One Nights (also known as Arabian Nights). In this activity, you will work in a group to tell stories from all three works.

Study and Select

Form a small group with two other students and investigate the frames that provide structure to The Canterbury Tales, The Decameron, and One Thousand and One Nights. Copy the following chart on your own paper. In the chart, briefly identify the nature of the frames for the stories.

Frame Tale Description of Frame

The Canterbury Tales

The Decameron

One Thousand and One Nights

Assign one of these frame tales to each member of your group. Read more about your designated work and the stories included within the frame. Then choose a story that interests you, read it closely, and take notes. This is the story that you will retell. (Check first that the stories chosen by your partners dont too closely resemble your own selection.)

Practice and Present

Using your notes, practice telling your chosen story in your own words. Dont attempt to use language from the translation you read, but keep to the spirit solemn or lightheartedof the original story. See Language Arts Handbook 7.8, Telling a Story, on page 1289 of your textbook, for additional suggestions for effective and entertaining storytelling. You will also be responsible for introducing the frame tale from which your story came. Prepare a brief description of the frame. With your two partners, present the three works to the class and narrate the representative stories you have chosen. After your presentation, discuss with your listeners the similarities and differences between the frame tales.


Name: ____________________________________________________ Date: __________________


from Everyman, page 162

ARCHETYPAL CHARACTER STUDY

Everystudent

Everyman is an archetypal character, an ordinary person who experiences the joys, tragedies, and drudgery that are common experiences for all of us. He or she is no hero, but surviving life with some dignity may be heroism enough. Because Everyman is someone with whom any reader can identify, he crops up in literature throughout the centuries. (See page 168 of your textbook for a discussion of Everyman.) In this activity, you will work in a group to create an Everyman for your times. You will compose scenes for a play with this character as the protagonist to perform for your class.

Create a Character

Imagine Everyman is a student at your school. Lets call him or her Everystudent. What would he or she be like? What problems would Everystudent encounter in a typical school day? How would he or she deal with these events? You will be composing scenes for the play Everystudent (or a title of your choice). Before you begin writing, think of appropriate experiences that your protagonist should have. What events of American high school life help to shape the adult of the future? What light do these events cast upon human behavior? How would Everystudent respond? Working in a small group, brainstorm a list of high or low points that Everystudent would typically experience at your (or any) high school. A dropped tray in the cafeteria? A pop quiz in calculus? The possibilities are endless. Describe the experiences in a chart. Then explain how you believe Everystudent might respond.

Experience Everystudents Response



Develop and Write a Scene

Choose an event in the life of Everystudent that you wish to develop into a dramatic scene. Talk your selection over with your fellow group members and make a note of ideas that might be useful to you. Then work on your own to sketch out the characters and action. Record your scenario and reflect on your choice below.

Setting: __________________________________________________________________________Characters: _______________________________________________________________________________________________________________________________________________________

Summary of action: _________________________________________________________________________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

Why I chose to develop this scene: _____________________________________________________________________________________________________________________________________

_________________________________________________________________________________

When you have thought through the outline of your sketch, begin writing dialogue for your scene. Include any stage directions the actors will need. Remember that Everystudent is at your school (or everyschool), so keep the speech natural and idiomatic. For more information on the elements of drama, see pages 337339 of your textbook.

Rehearse and Perform

Print copies of your scene for the group and assign an actor for each role. As you rehearse, listen attentively and make changes where the dialogue seems unnatural or irrelevant. Encourage students without speaking roles to suggest improvements in substance or style. When your group has rehearsed all the scenes, arrange them in a logical sequence. You may wish to include a narrator to smooth the transitions between Everystudents experiences. Perform your scenes from Everystudent for the class. Afterwards, discuss with your audience Everystudents behavior and explain why you singled out these particular events.

Reflect

When you have completed your presentation, answer the following questions on a separate sheet of paper.

1. Why might Everyman be such an enduring figure?

2. To what extent do you consider yourself an Everystudent? Explain your answer.


Name: ____________________________________________________ Date: __________________


Federigos Falcon, from The Decameron, page 211

WORLD LITERATURE PROJECT

Familiar Motifs

Motifs are themes, images, or elements of plot that recur in one or more works of literature or art. For example, the trial or quest motif is central to many works in the oral tradition. Romantic fiction often features the love of two men for one woman, a motif so enduring that it is sometimes called the eternal triangle. Federigos Falcon includes several motifs that occur in various forms throughout world literature: Unrequited Love. Monna Giovanna does not respond to Federigos

continual attentions. Misspent Youth. Federigo wastes all his money in a vain attempt to attract

Monna Giovanna. Tragic Irony. Federigo serves his falcon for Monna Giovanna to eat,

not knowing that she wants it alive to save her sons life. She eats the bird unknowingly.

Happily Ever After. The couple marry and are happy for the rest of their days. In this activity, you will find other examples of these motifs in world literature.

Identify Motifs

Search your memory of past reading or use the library or Internet to find other literary works that include the motifs listed above. Record their titles and a brief summary of the example motif you found there in the chart below. Work to make your list truly international, searching for literary works that were not originally written in English.

Motif Another Example from World Literature

Unrequited love

Misspent youth

Tragic irony

Happily ever after

Share and Discuss

Share your findings with a small group. Discuss how your examples compare and contrast. Present what you consider your best examples to your classmates. See Language Arts Handbook 7.3, Collaborative Learning and Communication, in your textbook, for additional guidelines for participating in group discussion.


Name: ____________________________________________________ Date: __________________


Whoso list to hunt / With how sad steps, page 248

LITERARY FORM STUDY

The Sonnet

Whoso list to hunt and With how sad steps are both sonnets, poems of fourteen lines written in iambic pentameter. Sonnets appear in two principal forms determined by the patterns their rhyme schemes create. The English, or Shakespearean, sonnet consists of four parts: three groups of four lines (quatrains) followed by two concluding lines (a couplet). The rhyme scheme indicates this grouping: abab cdcd efef gg. The Italian, or Petrarchan, sonnet consists of two parts: a group of eight lines (an octave) and a concluding group of six lines (a sestet). Again, the rhyme scheme defines these groupings: an octave of abbaabba followed by a sestet of cdecde, cdcdcd, or cdedce. (For more on the sonnet, see pages 246247 of your textbook.) In both English and Italian sonnets, the form often dictates the sense. In an English sonnet, the four quatrains generally develop an idea, and the couplet concludes the thought. In an Italian sonnet, the octave introduces an idea or ideas, and the sestet may reflect on or even reject the idea or ideas. Sonnets are almost always written in iambic pentameter, a rhythmic pattern consisting of five iambic feet, known as iambs. Each iamb consists of two syllables: an unstressed syllable followed by a stressed syllable, as in the word surprise. A perfect line of iambic pentameter verse will look like line 10 from Whoso list to hunt:

/ / / / / As well | as I, | may spend | his time | in vainHowever, perfect examples such as this are rare. Many poets include irregularities in their meter to stress important ideas or avoid a monotonous repetition in their rhythm. In this exercise, you will investigate the sonnet form and compose a sonnet of your own.

Analyze Meter

The first four lines of Whoso list to hunt are reproduced below. Read each line and indicate its rhyme scheme. Then record the number of syllables and mark where the stresses fall. Finally, underline Y or N to indicate whether you believe the line to be in perfect iambic pentameter. Line 1 has been done for you.

Perfect Rhyme Syllables Iambic Pentameter / / / / / /Whoso list to hunt, I know where is an hind, a 11 Y NBut as for me, alas, I may no more. _____ _____ Y N

The vain travail hath wearied me so sore _____ _____ Y N

I am of them that farthest cometh behind. _____ _____ Y N



Study a Sonnet

Find a sonnet that interests you. Your choice may be from any author and any period of time. You will find sonnets in print anthologies and on Internet sites devoted to the form. Read your sonnet carefully, looking closely at how its form helps determine its pattern of thoughts. On the lines below, identify the sonnet and paraphrase the poets ideas. Then reflect on how the sonnets form and thought are interwoven.

Sonnet studied: ___________________________________________________________________Form: ___________________________________________________________________________Paraphrase of ideas: ________________________________________________________________________________________________________________________________________________

_________________________________________________________________________________

Explanation of how form and thought relate: ____________________________________________________________________________________________________________________________

_________________________________________________________________________________

Write a Sonnet

Now write a sonnet of your own. See Language Arts Handbook 4.1, The Writing Process, in your textbook, for suggestions on how to gather ideas for your writing. Use either the English or the Italian form, shaping your ideas to the structure you have chosen. Compose the lines using iambic pentameter but feel free to vary the rhythm. Copy your final draft below.

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Name: ____________________________________________________ Date: __________________


Let me not to the marriage of true minds (Sonnet 116), page 262

LITERARY CRITICISM ACTIVITY

An Authors Life and Time

One way of learning more about a work of literature is to investigate how the authors life and time may have influenced his or her creativity and perspectives. This approach, known as biographical-historical criticism, can lead to useful perceptions. Learning about a significant event or social condition in the authors life can enrich a readers understanding of a literary work. For example, facing a terminal illness could profoundly influence an authors works. Be careful in making too many assumptions, however. The creative imagination can often transcend an authors experiences. Works of surprising optimism may emerge from the grimmest conditions, and vice versa. For more information on biographical-historical criticism, see pages 266267 of your textbook. In this activity, you will investigate how biographical or historical events may have influenced a literary work.

Read and React

Turn to page 312 of your textbook and cover the biographical note. Read Easter Wings, by George Herbert. On your own paper, write an explanation of its meaning and a description of its speaker, as you imagine him.

Investigate and Analyze

Uncover and read the biographical note on page 312. Then, using library or Internet sources, locate and read a more in-depth biographical essay on the poet and one or two encyclopedia entries about the time and place in which he lived. Then answer the following questions on your own paper:

1. What connections can you make between Herberts view of mans wealth and store and choices the author made in his life? How do these connections affect your reading of the poem?

2. What is the subject of Easter Wings? What is the tone? What do the subject and tone of the poem suggest is Herberts chief concern in life? How does knowing about his life help you understand this concern?

3. Considering the class divisions in Elizabethan England, what implications did Herberts choice have? Is the theme of Easter Wings an appropriate statement for someone who made such a choice? Explain.

Compare and Contrast

Look at your written reaction to the poem before you did research. How has your understanding of the poem changed? What piece of information from your research gave you the most important or surprising insight into the poem?


Name: ____________________________________________________ Date: __________________


The Passionate Shepherd to His Love / The Nymphs Reply to the Sheherd, page 269


A Fictional Dialogue

Although written by different authors, The Passionate Shepherd to His Love and The Nymphs Reply to the Shepherd are meant to be read together. In fact, they constitute a dialogue between two contrasting characters: the romantic, idealistic shepherd and the realistic, somewhat cynical nymph. Such pairings of literary works are unusual, but comparing characters that we encounter in fiction or poetry and imagining what they would have to say to each other can be fun and can help us better understand the characters and their traits. In this activity, you will imagine and perform a conversation between two contrasting characters from fiction.

Warm Up

Think of two characters, from two separate works of literature, who have very different personalities or exhibit different attitudes toward life. On a separate sheet of paper, record the names of the characters and the works of literature in which they appear, and write a brief description of each character. In the chart below, list three questions that you think would introduce a lively debate between the two characters. Compose the characters replies, keeping each response in line with your brief description of the character. Do not list the characters names in the chart; instead, identify them as Character 1 and Character 2.

Question Character 1 Character 2



Write and Perform a Script

Exchange charts with a partner. Read the questions and answers on your partners chart. Write a paragraph describing each characters personality and attitudes toward life given what you know about them from the questions and answers. When you have both finished your reviews, compare your descriptions and discuss the challenges of representing a characters personality and attitudes through dialogue. With your partner, choose one of your pairings and create a skit that reveals the personalities and attitudes of the two characters. Your skit may be completely fanciful and removed from the characters literary settings, but the way your characters respond to the situation and to each other should be true to their basic natures. When you have finished writing, decide which character each of you will play in a presentation of the script. Identify the characters and who will play them below:

Character 1: ____________________________________________________

Role-player: ____________________________________________________

Character 2: ____________________________________________________

Role-player: ____________________________________________________ Rehearse your performance until you are comfortable with your character and confident in your delivery. See Language Arts Handbook 7.8, Telling a Story, in your textbook, for additional guidelines for writing and delivering an interesting and entertaining story. Perform your skit for the class without revealing your characters identities. If your skit involves a well-known literary character, ask your audience to guess who you were playing. If they have trouble guessing, ask someone to describe the personality and attitudes that were exhibited by the character, and then invite the audience to try again. If they still have trouble, try giving a hint about the literary work from which the character is drawn.


Name: ____________________________________________________ Date: __________________


Eves Apology in Defense of Women, from Salve Deus Rex Judaeorum, page 314

LITERARY RESPONSE PROJECT

Responding as a Group

As students of literature, you are constantly being asked to respond to your reading. Generally you are asked to respond as an individual to specific questions or write critical essays. When the selection under consideration is challenging in language or contentlike Eves Apology in Defense of Women, by Amelia Lanieran individual response can be particularly limiting. One way to enhance your appreciation of literature is to pool your perceptions with a group of fellow readers. In this activity, you will work cooperatively with a group to study and explain a challenging piece of literature.

Select

Choose a short poem or passage of prose written during the period covered by Unit 3 of your textbook (the Renaissance, 14851625). There is a wealth of material to choose from. Consider selecting an essay by Francis Bacon; a lyric by John Donne; a sonnet by William Shakespeare; or another excerpt from Laniers Salve Deus Rex Judaeorum. Make three copies of your selection and bring them to class.

Respond

Form a group with two other students and give each student a copy of your selection. You will now have three unfamiliar pieces of literature in front of you. Agree on the same selection to read first. Read it silently twice. Then record your initial responses about the following items: your overall impression; a question that you would like answered; a passage that puzzled you (and what you think it means); and a passage that struck you (and why you chose it) Exchange observations about the selection with your partners. Help each other resolve your questions and appreciate aspects of the work that you may have overlooked. Repeat this procedure for the other two works.

Explicate

Still working with your partners, develop an oral explication (analysis) of the selection your group most successfully explored. Agree on aspects of the chosen work that you wish to cover, and divide the task of presenting these areas among the three of you. You might wish to imitate Anniina Jokinens step-by-step explication of John Donnes Death Be Not Proud, on page 300 of your textbook. See Language Arts Handbook 7.6, Public Speaking, in your textbook, for additional guidelines about writing and delivering a speech. Distribute copies of the selection to your classmates and give them time to read it before presenting your explication. Encourage your listeners to ask questions after your presentation.


Name: ____________________________________________________ Date: __________________


The Tragedy of Macbeth, page 340

HISTORICAL CONTEXT PROJECT

Witchcraft in Renaissance Britain

King James VI of Scotland believed passionately in the existence of witchcraft and the persecution of its alleged practitioners. He even published a book on the subject, titled Daemonology, in 1597. Six years later he ascended the throne of a united England and Scotland as King James I, successor to Queen Elizabeth. It was likely King James whom Shakespeare had in mind when he made the Werd Sisters such a prominent presence in The Tragedy of Macbeth. The king would have been flattered to see his area of expertise featured by Britains greatest playwright, and Shakespeares acting company might have benefited from such royal approval. Approaching the subject from a modern, academic point of view, one must wonder: What was the reality of witchcraft in Renaissance England and Scotland? What led people to suspect and accuse their neighbors of practicing beliefs and actions that were punishable by death? In this project, you will research the history of witch trials in Renaissance Britain and write a fictitious first-person narrative set in sixteenth-century Scotland.

Get Started

Research historical attitudes, beliefs, and superstitions about witchcraft in sixteenth- and seventeenth-century Britain. Search your library or reputable online sources, such as educational or government websites. Look for trends in the social, political, economic, and/or medical climates that typically surrounded accusations of witchcraft. Also note any gender, age, or economic similarities between the accused.

Create a Scenario

Use your research to create an account of a fictitious accusation of witchcraft, set in sixteenth- or seventeenth-century Britain, that you feel to be historically accurate. Record information about your scenario in the following chart.

Background

When and where is the action taking place?

Who is the narrator?

What has happened to arouse suspicion?



Background

Who is making accusations?

Who is accused?

What do local people feel about the situation?

Reconstruct a Witchcraft Trial

Use your notes to create an account of a witch trial based on your fictitious scenario. Record notes for your outline in a chart like the one below.

Trial

Witnesses

Principal evidence

High point of proceedings

Verdict and consequences

Write

Write your account of the situation and the trial that you have outlined. Remember that you will be writing in the first person, telling the story of someone who witnessed a witch hunt and trial. While you wont be able to re-create perfectly the language of the day, try to keep your narrators voice and attitude in keeping with the period. Make sure that the details of setting and incident are in accordance with your research.

Present

Read your narrative to the class. If you have included passages of direct speech, you might consider a dramatic reading of the action, with classmates playing the roles of characters in your account. See Language Arts Handbook 7.8, Telling a Story, on page 1289 of your textbook, for guidelines for delivering a narrative in an entertaining way.

Reflect

When you have completed your presentation, answer the following questions on a separate sheet of paper. 1. Why might belief in witchcraft have persisted well into the

seventeenth century? 2. Can you think of situations today when the same spirit that inspired witch

hunts might re-emerge?


Name: ____________________________________________________ Date: __________________


from The Analects, page 440

WORLD LITERATURE STUDY

Studies in Leadership

In The Analects, Confucius wrote at length about the qualities of a great leader. Two thousand years later, during the Italian Renaissance, a European thinker wrote his own memorable ideas on leadership. Niccol Machiavellis conclusionsexpressed in The Princewere very different from those of Confucius. In this lesson, you will examine and compare the political philosophies of Confucius and Machiavelli. You will work with a partner to stage a debate on the qualities of a great leader.

Study the Thinkers

Research the political beliefs of Confucius and Machiavelli as represented in The Analects and The Prince. The complete texts of both works are available online. You will also find analyses of these thinkers views on government in print or Internet sources. Copy the following chart on your own paper, adding rows as needed. In the chart, record what you consider the most noteworthy contrasts in their views.

Contrasting Views

Confucius Machiavelli

Stage a Panel Discussion

Get together with a partner and flip a coin to determine who will represent Confucius and who will represent Machiavelli. Then stage a discussion answering the question, What are the qualities of a great leader? Adopt the persona of the thinker you are portraying. Prepare note cards with the main arguments your thinker would make, and any supporting details. Try to anticipate any counterarguments your opponent may use. After your discussion, remain in character to take questions from your audience. See Language Arts Handbook 7.9, Participating in a Debate, in your textbook, for additional information about debate-style discussions.

Reflect

When you have completed your discussion, answer the following questions on a separate sheet of paper: How would you summarize the fundamental difference between the political philosophies of Confucius and Machiavelli? How would you assess the influence of these two political philosophers on modern world leaders?


Name: ____________________________________________________ Date: __________________


from The Tragical History of Doctor Faustus, page 443

LITERARY CONNECTION ACTIVITY

Genesis and the Faustian Bargain

As your textbook notes on page 445, the Faustian bargain has long fascinated authors and musicians. The fate of Doctor Faustusor Faust, as he is more commonly knownevokes both sympathy and horror. However, the theme of Fausts downfall has its own origins deep in western cultural and religious history. In this activity, you will discuss the relationship of Faust to an account of the fall of humankind, as depicted in the King James Bible. You will work in a small group to compose a statement to share with the class.

Read and Consider

The sacred texts of the Abrahamic faiths (Judaism, Christianity, and Islam) each tell the story of Adam and Eve, whom many followers of these faiths have traditionally considered to be the first people. The most prominent translation of one of these sacred texts is the King James Bible. Though this translation was completed about twenty years after Marlowe wrote The Tragical History of Doctor Faustus, the language of the two texts will share a similar sound. Locate a copy of the King James Bible, either online or in print, and read the Book of Genesis, chapters 2 and 3. Then respond to the following questions on a separate sheet of paper: Who are Adam and Eve, and what is their sin? What is Fausts sin? What are the parallels between Fausts situation and that of Adam and Eve? What are the differences in their situations? Was Faust wrong to desire knowledge? Why was the Tree of Knowledge forbidden? Who acts as provider of knowledge in each selection? What is his or her

motivation behind providing access to knowledge? To what extent is knowledge a dangerous thing? How can one assess when knowledge is dangerous?

Discuss

Form small groups and discuss your thoughts about the questions listed above. Conclude your discussion by composing a statement about human knowledge with which you can all agree. Share your statement with the rest of the class.

Reflect

Indicate whether you agree or disagree with the following statement. Rank the statement on a scale of 1 to 10, with 1 representing absolutely not and 10 representing very true. The theme of Faust holds an important lesson for humanity today. Identify how you ranked the statement and explain your reasons in at least one paragraph on a separate sheet of paper.


Name: ____________________________________________________ Date: __________________


Monologues and Soliloquies from Shakespeares Plays, page 449


Monologues and Soliloquies

William Shakespeare was a master of the monologue and soliloquy, but he was by no means the only writer of these dramatic speeches. Playwrights throughout the ages have found the extended speech an important means of character development, and actors revel in delivering a well-written passage of poetry or prose. In this activity, you will study a monologue or soliloquy written by a playwright other than Shakespeare and recite it for your class.

Select and Practice a Passage

With the help of your teacher or a librarian, select a well-known play from any age or country and by any author except Shakespeare. Read the play and find a monologue or soliloquy that strikes you as powerful or interesting. Make a copy of this passage, and practice reading it with expression. Identify your passage below.

Play and author: ___________________________________________________________________Character speaking: ________________________________________________________________Context of soliloquy or monologue chosen: ______________________________________________________________________________________________________________________________

_________________________________________________________________________________

Recite

Without any introduction, recite your passage to your classmates. See the Language Arts Handbook 7.7, Oral Interpretation, on page 1289 of your textbook, for additional tips on how to deliver a dramatic reading of a literary work. Invite your classmates to ask yes/no questions regarding the context of your passage. After taking ten questions, challenge your audience to guess the situation in which your soliloquy or monologue was delivered in the original play. Finally, identify the play and explain the exact circumstances in which your speech was delivered.

Reflect

When you have completed your presentation, answer the following questions on a separate sheet of paper: What was the significance of the passage you recited in the context of the play from which it came? How does your chosen monologue or soliloquy compare to those authored by Shakespeare? Of the Shakespearean monologues and soliloquies and those of your chosen play, which speech(es) did you find most emotionally resonant?


Name: ____________________________________________________ Date: __________________


How soon hath Time (Sonnet VII), page 492

PRIMARY SOURCE STUDY

Literature as a Primary Source

If you are studying history, you will get good information from primary sources. While a secondary sourcelike an encyclopedia articlewill describe the period for you, a primary source provides an insiders view of the era. The Declaration of Independence is a primary source, giving you a firsthand idea of what rebellious colonists thought about the British government. Poetry and fiction can serve as primary sources, but you must use discretion in determining their validity as such. When you use a work of literature as a primary source, you have to distinguish fictional elements from factual elementsand that can be difficult to do. You will have to do research to gain knowledge of the fictional works context and the authors background. You may find information in critical reviews and essays about the work. You may also find background information about the author or events that he or she witnessed or experienced. For example, How soon hath Time, by John Milton, could be a primary source for information about the poet. We might infer that at the age of twenty-three, Milton worried that he had accomplished very little and wrote this poem to express his concerns. It seems likely that the poet is the speaker of the poem, but to use the poem as a primary source, we would need to verify that fact. In this lesson, you will select a work of literature and suggest to what extent it could serve as a reliable primary source.

Select a Primary Source

Locate another poem by Milton, such as Ad Patrem or Elegia Prima, or Charles Dickenss novel David Copperfield. Read or analyze the poem or several chapters from the novel. On your own paper, identify the work and author. List elements of the selection that are likely to be primary source material about the author or conditions of the time period. Then identify aspects of the work that you consider questionable as primary source material.

Present

Present your ideas to your classmates in the form of an extemporaneous expository speech. See Language Arts Handbook 7.6, in your textbook, for guidelines on writing and delivering a speech. Identify and describe the work of literature you have studied. Explain how this work might serve as a primary source. What factual information could you confidently extract from it? Identify your reservations as well. Where might the authors imagination hinder your pursuit of facts? To the best of your ability, answer questions your audience may have about your selection and its function as a primary source.


Name: ____________________________________________________ Date: __________________


from Oroonoko, page 562

CULTURAL CONNECTION STUDY

Kingdoms of West Africa

The novel Oroonoko, by Aphra Behn, tells the tragic story of an African prince who has been enslaved on a plantation in Suriname, then an English colony in South America. Although the kingdom of the prince is not named in the story, it would likely have been located in West Africa. Most enslaved Africans in Suriname came from societies in that part of the continent. In this activity, you will research the history of a West African kingdom and deliver your findings in a multimedia presentation.

Get Started

Search your library or the Internet for brief histories of the following West African kingdoms: Ghana, Benin, Songhai, Mali, and Hausa. After completing this introductory search, choose the culture you find most interesting to explore in your multimedia presentation.

Research

Exploring every aspect of your selected society would result in an overwhelming, lengthy presentation. Instead of trying to include a little information on as many topics as possible, focus on communicating thorough, detailed information on just one topic. Research one of the topics below for the West African kingdom of your choice:

Search history and reference selections in your library or reputable websites for your sources. As you explore your topic, look for visual, audio, and video images that will enhance the audiences understanding. Copy or electronically save maps, drawings, photographs, or paintings that will bring the culture alive. If appropriate, gather recordings of your chosen kingdoms music or spoken language, or video that offers a compelling view of your subject.

Write and Present

Present your findings using appropriate media. See Language Arts Handbook 7.10, in your textbook, for suggestions about effectively using media. Organize your research and visual/audio/video elements in a logical manner. On note cards, outline any text you will present and include cues for the accompanying media. Rather than writing complete sentences on your cards, use paraphrasing and key words to help yourself speak extemporaneously.

government and politics notable leaders economy religious beliefs

family structure gender roles location and lands food and agriculture

art, literature, and music relationship(s) to

neighboring communities


Name: ____________________________________________________ Date: __________________


from The Diary of Samuel Pepys, page 571 / from A Journal of the Plague Year, page 579

LITERARY FORM PROJECT

The Diary

There is no one way of writing a diary, in part because diarists themselves are a diverse crowd. Presidents, painters, actors, musicians, scientists, prisonerseven authorshave all tried their hand at writing diaries. Their purposes differ; so do their styles, experiences, and powers of observation. What diarists all have in common, however, is a desire to keep a record of their own lives on a daily, or at least regular, basis. In this activity, you will compare the works of two diarists and compose an entry imitating the style of one of them.

Choose Your Diarists

First select works by two diarists whose birth dates are at least fifty years apart and whose careers were different. (In other words, for example, do not choose diaries written by two politicians or by two people born in the first half of the twentieth century.) Asking your librarian for recommendations is a good way to start your search for diaries. Another is to hunt for diarists on the Internet and see what familiar or interesting names you discover. Many older works are freely available online. Read enough of each diary to become familiar with the writers style; expect to read around fifty pages of each work. Identify the diarists and the excerpts you read below. Then briefly summarize your impressions of the works.

1. Diarist: ______________________________________________________________________

Brief background of author: ______________________________________________________

_____________________________________________________________________________

Excerpt read: __________________________________________________________________

Overall impression: _____________________________________________________________

_____________________________________________________________________________

2. Diarist: ______________________________________________________________________

Brief background of author: ______________________________________________________

_____________________________________________________________________________

Excerpt read: __________________________________________________________________

Overall impression: _____________________________________________________________

_____________________________________________________________________________



Compare and Contrast

Identify your diarists in the chart below and answer the questions for each of them.

Question Diarist 1: Diarist 2:

What is the diarists purpose?

How can you distinguish fact from opinion in the excerpt you read?

How would you describe the diarists tone?

Copy a typical observation written by this diarist.

Imitate a Diarist

Choose one of the diarists you studied, and attempt to write a diary entry as though you were that person. Look at the world around you through the diarists eyes. Describe some event of personal or political interest, as if your diarist were doing the writing and you were simply the hand that held the penor typed on the keyboard. Try to emulate the diarists tone, style, and concerns. Write your entry on a separate sheet of paper. Read your simulated passage to the class along with an entry from the original diarists work. See Language Arts Handbook 7.1, in your textbook, for tips on how to deliver your passage with verbal and nonverbal expression.

Extend Your Understanding

After presenting your diary entry, answer the following questions:

1. How would you define the difference between an Internet blog and a diary?

__________________________________________________________________________

__________________________________________________________________________

2. Would either of the diarists you studied have been successful bloggers? Explain your answer.

__________________________________________________________________________

__________________________________________________________________________


Name: ____________________________________________________ Date: __________________


from The Diary of Fanny Burney, page 596

INFORMATIONAL TEXT ACTIVITY

Answering Questions Asked by a Text

Like most diarists, Fanny Burney made no effort to annotate her private writings. After all, she was writing largely for her own amusement. It is no wonder that she casually refers to people, customs, and events without any explanation. Todays high school students are far removed from the life of an eighteenth-century Englishwoman, however, and will need some assistance in understanding it. Fortunately, many informational articles and websites provide this background material. In this activity, you will research some of the references in Fanny Burneys diary that might puzzle a modern reader. Then you will work in small groups to write a collection of informative articles on these topics.

Research

Form a group with two or three other students and distribute the following topics among yourselves. Search for articles from Internet sites, periodicals, and journals that help answer the questions posed. Be sure to look for reliable websites. Your librarian can refer you to indexes and databases for periodicals and journals. Take notes on your research, and document the sources of the information. Copy or print relevant images (such as paintings, drawings, or diagrams) to include with the articles you will produce. Dr. Johnson. Who was this man who was the center of attention at gatherings? Ladies Clothing. Dr. Johnson seemed obsessed with what women were wearing.

What did English women wear in the late eighteenth century? Fanny Burneys Book. What does Fanny mean when she refers to my honoured

book? What book would that have been and why was it so special? Marriage. Fanny was twenty-six years old. Why were people so interested in

finding her a husband? What if a woman in her society didnt marry? What if she did?

Sir Joshua Reynolds. Lady Montagu proposed that Fanny marry Sir Joshua Reynolds. Fanny was amazed. Who was this man?

Reading Habits. Why was Fanny generally embarrassed to be seen with a book? What was the status of reading in her day? What sort of books did women read?

Mrs. Thrale. How did Mrs. Thale become a hostess of great reputation?

Write Articles

Use your notes to write an expository article on each topic you researched. Each article should be at least one half-page in length. Using a computer program if possible, combine the articles written by your group and lay them out as they would appear in a scholarly magazine or journal. Include relevant visual images and write a caption for each. Also include a bibliography for each article. (See Language Arts Handbook 5.6, in your textbook, for information on how to correctly document your sources.) Hand in your notes and articles to the teacher.


Name: ____________________________________________________ Date: __________________


Kubla Khan, page 687

HISTORICAL CONTEXT ACTIVITY

Reinventing the Past

Watching an old western movie, you might observe that the cowboys look just like Hollywood actors straight out of the 1950s or 1960s. Decades from now when we watch period films being made today, theyll probably reflect the twenty-first century more clearly than the era they attempt to recreate. Reconstructing the past in a work of art is notoriously difficult. The present keeps getting in the way! This phenomenon was especially evident during the Romantic Age. Writers were fascinated by history but invariably put a Romantic spin on everything they wrote. Samuel Taylor Coleridge drowsed off over a history book one day and woke up with a complete poem in his head. He never completed that poem, but in the 54 lines he composed, Coleridge created a case study in Romanticism. Kubla Khan sheds little light on ancient China but a great deal on the English Romantic movement. In this activity, you will explore how Coleridge reinvented ancient China and made it a world of his own creation.

Get Started

Reread Kubla Khan on pages 688690 of your textbook. Then explain how Coleridge includes the following elements of Romanticism in Kubla Khan. Include a quotation to illustrate your observation.

A fascination with nature: ___________________________________________________________________________________________________________________________________________

The triumph of emotion over reason: __________________________________________________________________________________________________________________________________

The power of the creative imagination: _________________________________________________________________________________________________________________________________

The individual as hero: ______________________________________________________________________________________________________________________________________________

Write and Share an Essay

Write an essay in which you use Coleridges Kubla Khan to explain the principal elements of Romanticism. Use your notes from above as a starting point. Support and illustrate your ideas with evidence and quotations from the poem. Refer to Language Arts Handbook 4.1, The Writing Process, on page 1267 of your textbook, for guidelines on prewriting, drafting, and revising your essay. When you have completed a final version, share your paper by reading it to a small group or your class. Then discuss your responses to the poem as a group.


Name: ____________________________________________________ Date: __________________


She Walks in Beauty, page 718

AUTHORS STYLE STUDY

Analyzing Byrons Style

She Walks in Beauty is a lyric poem that has never gone out-of-date. It has remained a standard selection in anthologies of great poetry since Byrons day. What makes it a timeless work? Not the subject matter. Many poets have written about beautiful women with less success. Clearly, there is something in Byrons writing that elevates his sentiments. In this lesson, you will analyze Byrons poetic style and find another poet whose writing has similarities to that of Byron.

Get Started

Reread She Walks in Beauty on page 719 of your textbook. In the chart below, record details and examples about the poetic elements that characterize Byrons She Walks in Beauty. To review the form of lyric poetry, see page 650 in your textbook.

Element Examples

Figurative language

Imagery

Sound devices

Parallelism

On the lines below, describe Byrons use of rhyme and rhythm:

Use of rhyme: _____________________________________________________________________________________________________________________________________________________

Use of rhythm: _____________________________________________________________________________________________________________________________________________________

Compare and Present

Find a lyric poem by another author whose poem you feel shares some of Byrons stylistic qualities. Make a copy of the poem and jot down your observations about its style compared with Byrons style. Read your selection to the class and point out the ways in which the poets styles are similar. Refer to Language Arts Handbook 7.7 for suggestions on giving an oral interpretation of a literary work.


Name: ____________________________________________________ Date: __________________


The Lorelei, page 757

WORLD HISTORY ACTIVITY

History Tour of the Rhine

It is along the Rhine River that the Lorelei of the legend The Lorelei supposedly lures sailors to their deaths. The river has long been important to the economies and societies of European nations. It flows over eight hundred miles from Switzerland to Holland, a course rich in associations with human history. In this activity, you will role-play a Rhine River tour guide describing historic sites on a cruise boat full of American tourists.

Get Started

Research the history of the Rhine River using online or print resources. In the chart below, identify points of historical interest along the river and briefly describe their importance.

Point of Interest on the Rhine Description

A city

A castle

An area of importance in military history

A bridge

A geographical feature (e.g., mountains, fertile plains)

Research and Present

Choose one of the points of interest you identified in the chart. Research it in depth and develop an informative oral presentation for the site as if you were the official guide aboard a Rhine River cruise. Assume that your listeners know nothing of the history of the site. See Language Arts Handbook 7.6, Public Speaking, in your textbook for guidelines on creating an effective oral presentation. Find engaging ways to present your information. For example, you might catch listeners interest with your enthusiastic delivery, dramatic pauses, and fascinating facts.


Name: ____________________________________________________ Date: __________________


from Introduction to Frankenstein, page 759

LITERARY CONTEXT STUDY

Gothic Fiction

When Mary Shelley and her friends amused themselves by writing scary stories in the rainy summer of 1816, they werent breaking new ground. Gothic fiction had been frightening readers for decades in England. In this assignment, you will learn more about this enduring genre and try your hand at a traditional Gothic story yourself. You will then present your story to your classmates.

Get Started

Although Gothic novels generally take place in the Middle Ages, many of their components are familiar to the reader of old-fashioned ghost stories. The settings are often grand and mysterious: crumbling castles forbidding mansions crypts or graveyardsThe characters typically include a frightening array of humans and nonhumans: tyrants maniacs distressed maidens ghosts mysterious, silent heroes demons or monsters wicked aristocrats magicians femmes fatalesThe atmosphere is established by a mixture of disturbing elements: darkness decay madness imprisonment cruelty isolation secrets curses terror

Get Acquainted with the Genre

Familiarize yourself with a Gothic novel that Mary Shelley might have read. Choose a work published before 1816 (the summer Frankenstein was written). You may choose one of the following Gothic classics, all of which are available online: The Castle of Otranto, Horace Walpole, 1764 The Mysteries of Udolpho, Ann Radcliffe, 1794 Caleb Williams, William Godwin, 1794 (The author was Mary Shelleys father.) The Monk, Matthew Gregory Lewis, 1796 Start at Chapter 1 or plunge into the middle and read consecutively for one hourmore if you are hooked. Then identify the book you read, quote a typical passage, and describe its typically Gothic elements.

Book selected: ____________________________________________________________________Passage: __________________________________________________________________________________________________________________________________________________________

Gothic elements: __________________________________________________________________



Prepare an Outline

Pretend that you were part of Mary Shelleys party in the summer of 1816. Use the chart to outline a Gothic story you might have composed in response to Lord Byrons challenge.

Protagonist: typically a young, innocent victim

Setting: a place that is eerie, old, haunted, or decaying; a strange or foreign part of the world; a distant era

Danger: often involving persecution, haunting, a curse, a secret, or insanity

Mounting tension: how things get worse instead of better for the protagonist

Climax: the point at which the reader screams

Resolution: what happens to your protagonistescape or tragedy

Write and Present a Story

Now write the story you outlined above. If you wish, you may work with a coauthor whose ideas and style of horror harmonize with yours. You might assign episodes or write alternately, handing sections to your partner as you finish them. Whe

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Differentiated Instruction for Advanced Students With Answer