PD Handouts- Teaching Literary Non-Fiction - EngageNY · 9.1.2 Unit Overview ... students will dive deeply into a study of academic language and examine how both ... PD Handouts-

November 2013

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Teaching Literary Non-Fiction

183

November 2013


Unit 2: Rilke Question Sampler

“I cannot discuss your verses; for any attempt at criticism would be foreign to me.”

· What might Rilke’s use of the word foreign reveal about the relationship he perceives between art and

criticism?

· What can you infer about the purpose of the young poet’s letter from Rilke’s refusal?

“Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate

misunderstandings.”

· According to Rilke, what results from criticism?

· What is Rilke saying about the power of criticism to influence art? Use evidence from the text to support

your response.

“Things aren't all so tangible and sayable as people would usually have us believe; most experiences are

unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are

works of art, those mysterious existences, whose life endures beside our own small, transitory life.”

· What words repeat in this passage? What belief does Rilke challenge through these repetitions?

· What “life” does Rilke attribute to works of art? How does the life of art compare to human life?

“You ask whether your verses are any good. You ask me. You have asked others before this. You send them to

magazines. You compare them with other poems, and you are upset when certain editors reject your work. Now

(since you have said you want my advice) I beg you to stop doing that sort of thing. You are looking outside, and

that is what you should most avoid right now. No one can advise or help you - no one.”

· What do you notice about the structure of these sentences? What effect does Rilke create through

these structural choices?

· What does Rilke beg the young poet to give up?

185

New York State Common Core

November 2013


“There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see

whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to

die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I

write?”

· How might your understanding of the tone of Rilke’s message change if the word only was removed?

· How does Rilke embody the “reason” for writing? What image of the inner life of an artist does Rilke

create?

· What questions is Rilke imploring the young poet to ask of himself? According to Rilke, what answer

must an artist give?

· How might your understanding of Rilke’s message change if your was replaced with the word the in the

sentence “the most silent hour of your night”?

“Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with

a strong, simple "I must", then build your life in accordance with this necessity; your whole life, even into its

humblest and most indifferent hour, must become a sign and witness to this impulse.”

· How can the understanding of “your night” that you developed in question 6 help you to make meaning

of Rilke’s reference to the “humblest and most indifferent hour?”

· What might Rilke’s response to the young poet be if he answered no to these questions?

186

NYS Common Core ELA & Literacy Curriculum D R A F T Grade 9 • Module 1 • Unit 2

File: 9.1.2 Overview Date: 8/31/13 Classroom Use: Starting 9/2013

© 2013 Public Consulting Group. This work is licensed under a

Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

http://creativecommons.org/licenses/by-nc-sa/3.0/

1

9.1.2 Unit Overview

“A work of art is good if it has arisen out of necessity.”

Text(s) Excerpt from Letters to a Young Poet (Rainer Maria Rilke): Letter One, pp.

3-12; Excerpts from Black Swan Green (David Mitchell): “Hangman,” pp.

24–29, and “Solarium,” pp. 142–156

Number of

Lessons in Unit

11

Introduction

In this unit, students will continue to practice and refine routines such as close reading, annotation,

identification of evidence, and participation in collaborative discussions. Students will study the

authors’ use of language to create meaning and build characters. They will also build vocabulary, write

routinely, and, at the end of the unit, develop an essay that synthesizes ideas in the two texts.

Students will read excerpts from two texts (nonfiction and fiction), Rilke’s Letters to a Young Poet and

Mitchell’s Black Swan Green. These two texts will be juxtaposed, allowing for a study of key ideas and

characters across texts. In the Rilke Letters, students will consider, through nonfiction, how the

narrator introduces and develops the central tenets of his advice to the young poet. In Black Swan

Green, students will return to some of the broad ideas they investigated in Unit 1 because Jason, the

young narrator, is trying to fit in but is dealing with very different challenges. As they read and talk

about these texts, students will dive deeply into a study of academic language and examine how both

authors use this language to develop or describe their characters and their dilemmas.

For the Mid-Unit Assessment, students will choose three phrases that Rilke uses and describe how they

build on and express Rilke’s advice through the use of language (RI.9-10.1, RI.9-10.4, W.9-10.2).

For the End-of-Unit Assessment, students will write an essay describing each of the characters and

their current predicament, and then explaining how the advice from one text would apply to the other

(RI.9-10.1, RI.9-10.2, W.9-10.9).

Literacy Skills & Habits

· Read closely for textual details

· Annotate texts to support comprehension and analysis

· Engage in productive evidence-based conversations about text

· Collect evidence from texts to support analysis

· Determine meaning of unknown vocabulary

187






2

Standards for This Unit

CCS Standards: Reading—Literature

RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says

explicitly as well as inferences drawn from the text.

RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over

the course of the text, including how it emerges and is shaped and refined by specific

details; provide an objective summary of the text.

RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations)

develop over the course of a text, interact with other characters, and advance the plot

or develop the theme.

CCS Standards: Reading—Informational Text

RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says


RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the

text, including how it emerges and is shaped and refined by specific details; provide an

objective summary of the text.

RI.9-10.3 Analyze how the author unfolds an analysis or series of ideas or events, including the

order in which the points are made, how they are introduced and developed, and the

connections that are drawn between them.

RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including

figurative, connotative, and technical meanings; analyze the cumulative impact of

specific word choices on meaning and tone (e.g., how the language of a court opinion

differs from that of a newspaper).

CCS Standards: Writing

W.9-10.9 Draw evidence from literary or informational texts to support analysis, reflection, and

research.

a. Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author

draws on and transforms source material in a specific work [e.g., how

Shakespeare treats a theme or topic from Ovid or the Bible or how a later

author draws on a play by Shakespeare]”).

b. Apply grades 9–10 Reading standards to literary nonfiction (e.g., “Delineate and

evaluate the argument and specific claims in a text, assessing whether the

reasoning is valid and the evidence is relevant and sufficient; identify false

statements and fallacious reasoning”).

CCS Standards: Speaking & Listening

SL.9-10.1c Propel conversations by posing and responding to questions that relate the current

discussion to broader themes or larger ideas; actively incorporate others into the

discussion; and clarify, verify, or challenge ideas and conclusions.

Note: Bold text indicates targeted standards that will be assessed in the unit.

188






3

Unit Assessments

Ongoing Assessment

Standards

Assessed RL.9-10.1, RL.9-10.2, RL.9-10.3, RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4, W.9-10.9

Description of

Assessment Answer text-dependent questions. Write informally in response to text-based

prompts.

Mid-Unit Assessment

Standards

Assessed

RI.9-10.1, RI.9-10.4

Description of

Assessment

Students will choose three phrases that Rilke uses and describe how they build and

express Rilke’s advice through the use of language. Prompt: Select three phrases

that represent significant pieces of advice and explain how Rilke’s use of language

(i.e., particular words) gives each phrase its specific meaning.

End-of-Unit Assessment

Standards

Assessed RL.9-10.1, RL.9-10.2, W.9-10.9

Description of

Assessment

Compose an essay in response to one of the following prompts:

How might Rilke’s counsel also apply to Jason?

OR

How might Madame Crommelynck’s counsel also apply to the young poet?

In your essay, discuss how the author's word choice and phrasing impact the

effectiveness of their counsel.

Your essay must include the following components:

· An introduction that

o identifies the texts and author,

o identifies the mentor (Rilke or Madame Crommelynck),

o identifies the mentee (the young poet or Jason), and

o makes a claim as to why the counsel that the mentor gives to his/her

original mentee also applies to the mentee in the other text.

· An evidence-based description of the young poet’s or Jason’s predicament.

For example: If you are applying Madame Crommelynck’s advice to the

young poet, describe the situation for which the young poet seeks counsel.

· Evidence that supports the claim that appears in the introduction.

· A conclusion that points back to both texts.

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4

Unit-at-a-Glance Calendar

Lesson Text Learning Outcomes/Goals

1 Rilke’s Letter One,

paragraph 1

Students read closely to begin to analyze how Rilke’s ideas are

introduced in the passages that they will read.

2 Rilke Letter One,

paragraph 2 and

beginning of paragraph

3

The students will analyze how ideas unfold in the text. They will

determine the choices that the author makes in order to develop

his ideas. They will determine meaning of words as they are used

in the text.

3 Rilke Letter One,

complete paragraph 3

Students will consider how Rilke develops his central piece of

advice to the young poet. Students will analyze Rilke’s use of

repetition, figurative language, and word choice to determine

how these specific details shape and refine the central ideas of

this text. Students will prepare for the Mid-Unit Assessment by

selecting 3–5 specific details from the entire Letter One that are

powerful language choices in helping Rilke advise the young poet.

4 Mid-Unit Assessment Students will demonstrate their understanding of Rilke’s advice to

the young poet and the language he uses to impart it.

5 From Black Swan Green:

"Hangman" (pp. 24–26:

from “So anyway” to

“That was five years

ago.”)

Students will be introduced to the narrator and main character,

Jason, and will become familiar with the style and voice of the

narrator.


"Hangman" (pp. 2628)

Students will continue to analyze Jason’s character by connecting

details about the text, moving to a more central idea/theme

about Jason, namely his fear of being humiliated in front of his

peers.


"Solarium" (pp. 142–

145: from beginning of

chapter to “’To

business.’”)

Students will draw explicit and implicit conclusions about Jason's

first impressions of the vicarage and the character of Madame.


“Solarium” (pp. 145–

148: from "A young man

needs” to “The last

drops were the

thickest.”)

Students will begin to unpack the relationship between Madame

and Jason as they explore the advice she gives him. This lesson

begins to draw students’ attention to the thematic similarities

between the two texts in this unit.


“Solarium” (pp. 149–

156: “One moment we

Students will continue the analysis of how Mitchell’s ideas

develop. The students will continue their examination of Jason’s

predicament and will analyze Madame Crommelynck’s advice to

190






5

were ” to “hang

myself.”)

him.

10 Review of texts from

unit

Students will understand requirements of End-of-Unit

Assessment and prepare by making key choices from the prompt

and gathering details from the text.

11 End-of-Unit Assessment Using work from preceding lessons, students revise a text in

progress to demonstrate their understanding of the unit's texts

through the End-of-Unit Assessment.

Preparation, Materials, and Resources

Preparation

· Read closely and annotate the unit texts, Letter One of Rilke and the selections from Black

Swan Green.

Materials/Resources

· Gather necessary instructional materials such as pens, pencils, self-stick notes, and chart

paper.

· Full text of Letter One from Letters to a Young Poet by Rainer Maria Rilke.

· Full texts of “Hangman” and “Solarium” from Black Swan Green by David Mitchell.

· Download and copy Reading Closely Checklist located at

http://www.engageny.org/resource/grades-9-10-ela-reading-closely-unit.

· Download and copy the NY Regents Text Analysis Rubric:

http://www.engageny.org/sites/default/files/resource/attachments/2013.05.09_-

_ela_regents_nti_document_final.pdf on page 23 of 96.

191

NYS Common Core ELA & Literacy Curriculum D R A F T Grade 9 • Module 1 • Unit 2 • Lesson 1

File: 9.1.2 Lesson 1 Date: 8/31/13 Classroom Use: Starting 9/2013




1

9.1.2 Lesson 1

Introduction

In the first lesson of this unit, students continue to build the close reading skills they began to develop

in Unit 1 as they analyze Letter One of Rainer Maria Rilke’s Letters to a Young Poet. In this letter, Rilke

responds to a young poet’s search for guidance. In the excerpt, students will close read in this lesson,

Rilke challenges the usefulness of criticism and comments on the intangible and inexpressible nature of

art. Students will begin to understand the connections Rilke is establishing and developing in this

section.

Students will engage with the ideas Rilke presents in this empowering, lyrical text through independent

and group work. Students will begin by listening to a teacher Read-Aloud of the text, following along in

their own texts as they listen. This provides important fluency support as students gain familiarity with

this new genre of informational text. Students will then reread paragraphs one and two independently,

work to determine the meaning of academic/Tier 2 vocabulary in context, answer text-dependent

questions (TDQs), and participate in class discussion as they build an understanding both of Rilke and of

the poet to whom he writes.

Standards

Assessed Standard(s)

RI.9-10.3 Analyze how the author unfolds an analysis or series of ideas or events, including the

order in which the points are made, how they are introduced and developed, and the

connections drawn between them.

Addressed Standard(s)

RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says


RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including

figurative, connotative, and technical meanings; analyze the cumulative impact of

specific word choices on meaning and tone (e.g., how the language of a court opinion

differs from that of a newspaper).

Assessment

Assessment(s)

· Quick Write: Based on reading and class discussion, briefly respond to the following prompt: What

relationship is Rilke establishing between language and art? How does this support his assertions

about criticism? What evidence supports your thinking?

· Homework due at beginning of Lesson 2: students’ annotated texts

193






2

High Performance Response(s)

· High Performance Responses should indicate a formative understanding that Rilke is questioning

whether it is possible to fully express ideas and experiences through language. Rilke asserts that

“most experiences are unsayable,” and goes on to pronounce that “more unsayable than all other

things are works of art.” Students connect Rilke’s doubt that words can express art to his rejection

of “words of criticism,” and the “more or less fortunate misunderstandings” that result.

· Annotated Texts: Students annotate (on their text or with sticky notes) for important ideas,

thoughts, and unfamiliar vocabulary that relate to the focusing question. Student annotations may

include the following:

o Rilke formerly said he would not “discuss your verses” but now offers specific criticism;

he’s doing what he just said he wouldn’t do.

o The young poet’s poems currently “have no style of their own.”

o The poet’s work shows “silent and hidden beginnings of something personal.”

Vocabulary

Vocabulary to provide directly (will not include extended instruction)

· tangible (adj.) – perceptive by touch

· transitory (adj.) – not permanent

Vocabulary to teach (may include direct word work and/or text-dependent questions)

· confidence (n.) – full trust, confidential communication

· endures (v.) – lasts

Lesson Agenda/Overview

Student-Facing Agenda % of Lesson

· Standards: RI.9-10.1, RI.9-10.3, RI.9-10.4

· Text: Letter One from Rilke’s Letters to a Young Poet

· Introduction of Unit and Lesson Agenda

· Homework Accountability

· Read-Aloud of Rilke’s Letter One

· Close Reading and Evidence-Based Discussion

· Text-Dependent Questions (TDQs) and Activities

· Quick Write

· Closing

10%

5%

20%

25%

25%

10%

5%

194






3

Materials

· Copy of RI.9-10.1, RI.9-10.3, and RI.9-10.4

· List of vocabulary words for display.

195

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ts

kn

ow

th

at

the

y w

ill

be

lo

oki

ng

he

re a

t

ho

w a

n a

uth

or

lay

s o

ut

an

d d

ev

elo

ps

a

po

int

or

an

id

ea

, ra

the

r th

an

a

cha

ract

er.

5%

H

om

ew

ork

Acc

ou

nta

bil

ity

In

stru

ct s

tud

en

ts t

o t

alk

wit

h a

pa

rtn

er

ab

ou

t h

ow

th

ey

can

ap

ply

th

eir

fo

cus

sta

nd

ard

to

th

eir

te

xt.

Lea

d a

bri

ef

(3–

5

min

ute

) sh

are

ou

t o

n t

he

pre

vio

us

less

on

’s A

cco

un

tab

le I

nd

ep

en

de

nt

Re

ad

ing

(A

IR)

ho

me

wo

rk a

ssig

nm

en

t.

Se

lect

se

ve

ral

stu

de

nts

(o

r st

ud

en

t p

air

s)

to e

xpla

in h

ow

th

ey

ap

pli

ed

th

eir

fo

cus

sta

nd

ard

to

th

eir

AIR

te

xt.

Stu

de

nts

(o

r st

ud

en

t p

air

s) d

iscu

ss

an

d s

ha

re h

ow

th

ey

ap

pli

ed

th

eir

focu

s st

an

da

rd t

o t

he

ir A

IR t

ext

fro

m t

he

pre

vio

us

less

on

’s

ho

me

wo

rk.

20

%

Re

ad

-Alo

ud

of

Ril

ke

’s L

ette

r O

ne

D

istr

ibu

te c

op

ies

of

Rilk

e’s

Le

tte

r O

ne

an

d t

he

pa

ge

th

at

do

cum

en

ts t

he

tit

le

an

d p

ub

lica

tio

n d

ate

. A

sk f

or

vo

lun

tee

rs

to a

nsw

er

the

fo

llow

ing

qu

est

ion

:

1.

Wh

at

can

th

e t

itle

re

ve

al a

bo

ut

the

form

of

this

te

xt?

1.

Th

ere

is

a u

niq

ue

fo

rma

t fo

r th

is

text

: a

lett

er.

Th

is u

nd

ers

tan

din

g i

s

sup

po

rte

d b

y th

e t

itle

Le

tte

rs t

o a

Yo

un

g P

oe

t.

Qu

est

ion

Ext

en

sio

ns:

Stu

de

nts

ma

y o

bse

rve

th

at

lett

ers

are

no

t a

lwa

ys

no

nfi

ctio

n t

ext

s. T

he

Co

lor

Pu

rple

, a

n e

xam

ple

of

a n

ov

el

in

ep

isto

lary

fo

rm,

is f

icti

on

.

Co

nsi

de

r te

llin

g s

tud

en

ts t

ha

t th

e

lett

ers

we

re a

ctu

all

y w

ritt

en

ev

en

ea

rlie

r th

an

th

e p

ub

lica

tio

n d

ate

an

d

dis

cuss

th

e t

rad

itio

n o

f le

tte

r w

riti

ng

197

NY

S C

om

mo

n C

ore

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& L

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Cu

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Use

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tart

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9/2

01

3

© 2

01

3 P

ub

lic C

on

sult

ing

Gro

up

. T

his

wo

rk is

lice

nse

d u

nd

er

a

Cre

ati

ve

Co

mm

on

s A

ttri

bu

tio

n-N

on

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mm

erc

ial-

Sh

are

Alik

e 3

.0 U

np

ort

ed

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se

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/cre

ati

ve

com

mo

ns.

org

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en

ses/

by

-nc-

sa/3

.0/

6

tha

t to

da

y is

alm

ost

go

ne

. S

tud

en

ts

are

lik

ely

to

po

int

to e

-ma

il, t

ext

ing

,

Sk

yp

e,

an

d o

the

r te

chn

olo

gic

al

ad

va

nce

s a

s th

e r

ea

son

fo

r th

e

va

nis

hin

g t

rad

itio

n.

Re

ad

Le

tte

r O

ne

alo

ud

. H

ave

stu

de

nts

foll

ow

alo

ng

wit

h t

he

ir o

wn

te

xts.

Stu

de

nts

fo

llow

alo

ng

, re

ad

ing

sile

ntl

y.

Th

e p

urp

ose

of

the

te

ach

er

Re

ad

-

Alo

ud

is

to m

od

el

flu

en

cy a

nd

su

pp

ort

stru

gg

lin

g r

ea

de

rs.

Ad

va

nce

d s

tud

en

ts

ma

y n

ot

req

uir

e t

his

; in

th

is c

ase

, a

sk

stu

de

nts

to

re

ad

th

e t

ext

ind

ep

en

de

ntl

y b

efo

re p

roce

ed

ing

wit

h

the

le

sso

n.

In U

nit

On

e,

qu

est

ion

s w

ere

intr

od

uce

d d

uri

ng

th

e i

nit

ial

Re

ad

-

Alo

ud

; h

ere

, b

eca

use

th

e l

ett

er

is

rela

tive

ly s

ho

rt a

nd

th

e l

an

gu

ag

e (

no

t

the

id

ea

s) i

s le

ss c

om

ple

x th

an

St.

Lucy

’s,

an

un

inte

rru

pte

d R

ea

d-A

lou

d i

s

reco

mm

en

de

d.

Ho

we

ve

r, s

ho

uld

stu

de

nts

ne

ed

it,

it m

ay

be

use

ful

to

pa

use

an

d a

llo

w f

or

refl

ect

ion

tim

e

du

rin

g t

he

Re

ad

-Alo

ud

.

25

%

Clo

se R

ea

din

g a

nd

Ev

ide

nce

-Ba

sed

Dis

cuss

ion

A

sk s

tud

en

ts t

o d

o a

clo

se r

ea

din

g o

f th

e

firs

t p

ara

gra

ph

of

the

lett

er

ind

ep

en

de

ntl

y a

nd

an

no

tate

fo

r

un

fam

ilia

r vo

cab

ula

ry.

Re

min

d s

tud

en

ts

tha

t th

is t

yp

e o

f a

nn

ota

tio

n m

ea

ns

to p

ut

a b

ox

aro

un

d u

nfa

mil

iar

wo

rds

an

d

Stu

de

nts

sil

en

tly

re

ad

an

d a

nn

ota

te

the

fir

st p

ara

gra

ph

fo

r u

nfa

mil

iar

vo

cab

ula

ry.

Cir

cula

te a

rou

nd

th

e r

oo

m,

ass

isti

ng

stu

de

nts

wit

h t

he

an

no

tati

on

act

ivit

y

wh

en

ne

cess

ary

.

Be

cau

se s

om

e o

f R

ilke

’s s

yn

tax

is

com

ple

x, i

t m

ay

be

ne

cess

ary

to

he

lp

198

NY

S C

om

mo

n C

ore

ELA

& L

ite

racy

Cu

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m

D R

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T

Gra

de

9 •

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du

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• U

nit

2 •

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sso

n 1

Fil

e:

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.2 L

ess

on

1 D

ate

: 8

/31

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ssro

om

Use

: S

tart

ing

9/2

01

3

© 2

01

3 P

ub

lic C

on

sult

ing

Gro

up

. T

his

wo

rk is

lice

nse

d u

nd

er

a

Cre

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ve

Co

mm

on

s A

ttri

bu

tio

n-N

on

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mm

erc

ial-

Sh

are

Alik

e 3

.0 U

np

ort

ed

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en

se

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en

ses/

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-nc-

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7

ph

rase

s. I

nst

ruct

stu

de

nts

to

pa

y

pa

rtic

ula

r a

tte

nti

on

to

wo

rds

tha

t lo

ok

fam

ilia

r b

ut

ma

y h

av

e a

sli

gh

tly

dif

fere

nt

me

an

ing

.

stu

de

nts

ch

un

k s

ect

ion

s o

f se

nte

nce

s

to m

ake

me

an

ing

.

Re

min

d s

tud

en

ts t

ha

t if

th

ey

co

me

to

an

un

fam

ilia

r w

ord

, th

ey

sho

uld

lo

ok

insi

de

th

e w

ord

(st

ruct

ura

l an

aly

sis)

for

fam

ilia

r p

ort

ion

s, a

nd

ou

tsid

e t

he

wo

rd (

con

text

ua

l an

aly

sis)

fo

r cl

ue

s to

its

me

an

ing

.

Ha

ve

stu

de

nts

go

ove

r th

e a

nn

ota

tio

ns

wit

h a

pa

rtn

er

sitt

ing

ne

ar

the

m.

Th

e

pa

rtn

ers

sh

ou

ld n

ote

wh

ich

wo

rds

the

y

can

fig

ure

ou

t fr

om

co

nte

xt,

an

d w

hic

h

on

es

the

y m

ay

sti

ll n

ee

d h

elp

wit

h.

Stu

de

nts

dis

cuss

vo

cab

ula

ry i

n p

air

s.

Stu

de

nts

wil

l re

ma

in i

n t

he

ir p

air

s fo

r

the

re

ma

ind

er

of

this

le

sso

n.

Ask

stu

de

nt

pa

irs

to s

ha

re w

ord

s th

ey

fig

ure

d o

ut

fro

m c

on

text

an

d w

ord

s th

ey

are

sti

ll s

tru

gg

lin

g w

ith

. F

lag

wo

rds

on

th

e

vo

cab

ula

ry l

ist,

le

ttin

g s

tud

en

ts k

no

w

tha

t th

ese

are

wo

rds

the

y w

ill

lea

rn o

ver

the

co

urs

e o

f th

e n

ext

fe

w le

sso

ns.

Stu

de

nts

sh

are

wo

rds.

If

so

me

stu

de

nts

ask

ab

ou

t w

ord

s n

ot

on

th

e v

oca

bu

lary

lis

t fo

r th

is u

nit

,

con

sid

er

ask

ing

pa

irs

to d

iscu

ss s

om

e

of

the

se w

ord

s, l

oo

kin

g f

or

clu

es

to

the

ir m

ea

nin

gs

in t

he

pa

rag

rap

h.

25

%

Te

xt-

De

pe

nd

en

t Q

ue

stio

ns

(TD

Qs)

an

d A

ctiv

itie

s

D

isp

lay

th

e f

oll

ow

ing

ch

un

ks

of

text

wit

h

ass

oci

ate

d T

DQ

s fo

r st

ud

en

ts t

o d

iscu

ss i

n

the

ir p

air

s. S

tud

en

ts s

ho

uld

re

cord

th

eir

resp

on

ses

an

d b

e p

rep

are

d t

o s

ha

re i

n

cla

ss d

iscu

ssio

n.

Stu

de

nts

wo

rk t

og

eth

er,

an

swe

rin

g

qu

est

ion

s a

nd

ca

ptu

rin

g r

esp

on

ses

in t

he

ir n

ote

s.

Co

nsi

de

r a

skin

g s

tud

en

ts f

or

a

rem

ind

er

of

som

e g

uid

eli

ne

s fo

r

rea

din

g c

lose

ly a

nd

an

swe

rin

g T

DQ

s.

Stu

de

nt

resp

on

ses

ma

y i

ncl

ud

e t

he

foll

ow

ing

:

·A

nsw

eri

ng

TD

Qs

req

uir

es

usi

ng

ev

ide

nce

fro

m t

he

te

xt.

199

NY

S C

om

mo

n C

ore

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& L

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D R

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T

Gra

de

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du

le 1

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sso

n 1

Fil

e:

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ess

on

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: 8

/31

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Cla

ssro

om

Use

: S

tart

ing

9/2

01

3

© 2

01

3 P

ub

lic C

on

sult

ing

Gro

up

. T

his

wo

rk is

lice

nse

d u

nd

er

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Cre

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ve

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mm

on

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ttri

bu

tio

n-N

on

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mm

erc

ial-

Sh

are

Alik

e 3

.0 U

np

ort

ed

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en

se

htt

p:/

/cre

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mo

ns.

org

/lic

en

ses/

by

-nc-

sa/3

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8

·R

ea

d l

ike

a d

ete

ctiv

e.

·R

ea

d m

ult

iple

tim

es.

·It

’s d

iffi

cult

, a

nd

th

at’

s o

ka

y.

Th

is s

tep

wil

l b

e p

art

icu

larl

y h

elp

ful

for

less

exp

eri

en

ced

stu

de

nts

, o

r if

th

ere

ha

s b

ee

n a

ga

p b

etw

ee

n t

he

en

d o

f

Un

it 1

an

d t

he

be

gin

nin

g o

f U

nit

2.

“Yo

ur

lett

er

arr

ive

d j

ust

a f

ew

da

ys

ag

o.

I

wa

nt

to t

ha

nk

yo

u f

or

the

gre

at

con

fid

en

ce y

ou

ha

ve p

lace

d i

n m

e.”

1.

Wh

at

mig

ht

Ril

ke

’s u

se o

f th

e w

ord

con

fid

en

ce r

ev

ea

l ab

ou

t th

e c

on

ten

ts o

f

the

yo

un

g p

oe

t’s

init

ial

lett

er?

Stu

de

nt

resp

on

ses

ma

y i

ncl

ud

e t

he

foll

ow

ing

:

1.

Ril

ke i

s th

an

kin

g t

he

yo

un

g p

oe

t

for

pu

ttin

g g

rea

t tr

ust

in

him

an

d f

or

be

ing

so

op

en

an

d h

on

est

wit

h h

im

ab

ou

t p

riva

te a

nd

pe

rso

na

l m

att

ers

.

Ask

stu

de

nts

to

vo

lun

tee

r a

de

fin

itio

n

of

the

wo

rd c

on

fid

en

ce.

Stu

de

nts

wil

l

pro

ba

bly

be

fa

mil

iar

wit

h c

on

fid

en

ce

as

an

ad

ject

ive

to

de

scri

be

se

lf-

ass

ure

dn

ess

. G

uid

e s

tud

en

ts t

ow

ard

s

an

un

de

rsta

nd

ing

th

at

con

fid

en

ce a

lso

me

an

s b

oth

“fu

ll t

rust

” a

nd

“co

nfi

de

nti

al co

mm

un

ica

tio

n.”

“I c

an

no

t d

iscu

ss y

ou

r v

ers

es;

fo

r a

ny

att

em

pt

at

crit

icis

m w

ou

ld b

e f

ore

ign

to

me

.”

2.

Wh

at

mig

ht

Ril

ke

’s u

se o

f th

e w

ord

fore

ign

re

ve

al a

bo

ut

the

re

lati

on

ship

he

pe

rce

ive

s b

etw

ee

n a

rt a

nd

cri

tici

sm?

3.

Wh

at

can

yo

u i

nfe

r a

bo

ut

the

pu

rpo

se

of

the

yo

un

g p

oe

t’s

lett

er

fro

m R

ilke

’s

refu

sal?

2.

Fo

reig

n m

ea

ns

"so

me

bo

dy

fro

m

an

oth

er

cou

ntr

y t

ha

n y

ou

r o

wn

," s

o

by

usi

ng

th

is w

ord

Ril

ke

is im

ply

ing

tha

t, i

n h

is o

pin

ion

, a

rt a

nd

cri

tici

sm

are

fro

m t

wo

dif

fere

nt

pla

ces;

th

ey

are

no

t re

late

d t

o o

ne

an

oth

er.

3.

Th

e w

rite

r o

f th

e l

ett

er

wa

nts

Ril

ke

’s o

pin

ion

ab

ou

t th

e p

oe

try

an

d

ad

vic

e a

bo

ut

ho

w t

he

yo

un

g p

oe

t

can

im

pro

ve h

is w

ork

. S

tud

en

t

resp

on

ses

ma

y i

ncl

ud

e:

·T

he

po

et

ask

ed

Ril

ke

if

his

Cri

tici

sm a

s a

dv

ice

or

skil

lfu

l ju

dg

me

nt

ma

y b

e a

ne

w i

de

a.

If s

tud

en

ts

stru

gg

le,

it m

ay

be

he

lpfu

l to

sh

are

th

e

sim

ila

rity

to

th

e t

erm

cri

tic

an

d a

sk

stu

de

nts

to

th

ink

ab

ou

t w

ha

t a

go

od

mo

vie

or

mu

sic

crit

ic d

oe

s.

200

NY

S C

om

mo

n C

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9

po

etr

y w

as

go

od

.

·H

e a

ske

d R

ilk

e t

o o

ffe

r h

im

ad

vic

e.

“No

thin

g t

ou

che

s a

wo

rk o

f a

rt s

o l

ittl

e a

s

wo

rds

of

crit

icis

m:

the

y a

lwa

ys

resu

lt i

n

mo

re o

r le

ss f

ort

un

ate

mis

un

de

rsta

nd

ing

s.”

4.

Acc

ord

ing

to

Ril

ke,

wh

at

resu

lts

fro

m

crit

icis

m?

5.

Wh

at

is R

ilke

sa

yin

g a

bo

ut

the

po

we

r

of

crit

icis

m t

o i

nfl

ue

nce

art

? U

se

ev

ide

nce

fro

m t

he

te

xt t

o s

up

po

rt y

ou

r

resp

on

se.

4.

Cri

tici

sm t

yp

ica

lly

do

esn

’t w

ork

an

d u

sua

lly

re

sult

s in

so

me

on

e

“mis

un

de

rsta

nd

ing

” a

te

xt.

5.

Stu

de

nt

resp

on

ses

ma

y in

clu

de

the

fo

llow

ing

:

·R

ilk

e t

hin

ks c

riti

cism

is

use

less

or

po

intl

ess

. C

riti

cism

is

no

t a

go

od

wa

y to

th

ink

ab

ou

t a

rt.

·R

ilk

e t

ell

s th

e p

oe

t “t

hin

gs

are

n't

all

so

ta

ng

ible

an

d s

ay

ab

le.”

·E

ve

nts

ta

ke

pla

ce “

in a

sp

ace

tha

t n

o w

ord

ha

s e

ve

r e

nte

red

.”

·M

an

y t

hin

gs

are

“u

nsa

ya

ble

,”

bu

t e

spe

cia

lly a

rt b

eca

use

it

last

s fo

rev

er.

Th

e a

nsw

er

he

re s

ho

uld

be

co

mp

lex

sin

ce t

he

re a

re s

ev

era

l la

ye

rs t

o R

ilke

’s

resp

on

se.

No

te t

he

co

mp

lexi

ty o

f th

is s

en

ten

ce;

it h

as

two

pa

rts.

Ta

ke

mo

re t

ime

dis

cuss

ing

th

e s

tud

en

ts’

resp

on

ses.

Re

ad

ing

alo

ud

an

d r

ep

hra

sin

g h

is

wo

rds

ma

y h

elp

th

e s

tud

en

ts a

na

lyze

Ril

ke

’s i

de

as.

Ad

dit

ion

al

sca

ffo

ldin

g q

ue

stio

ns:

·W

ha

t is

a “

mo

re f

ort

un

ate

mis

un

de

rsta

nd

ing

”?

·W

ha

t m

igh

t b

e a

“le

ss f

ort

un

ate

mis

un

de

rsta

nd

ing

”?

·H

ow

do

es

this

re

late

to

th

e e

ffe

ct

of

crit

icis

m?

·W

ha

t is

th

e b

est

po

ssib

le

ou

tco

me

, a

nd

wh

at

is t

he

wo

rst

po

ssib

le o

utc

om

e?

Th

e s

yn

tax

of

the

fir

st p

art

of

the

sen

ten

ce i

s u

nu

sua

l; c

on

sid

er

ask

ing

the

stu

de

nts

to

re

ph

rase

it.

201

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10

“Th

ing

s a

ren

't a

ll s

o t

an

gib

le a

nd

sa

ya

ble

as

pe

op

le w

ou

ld u

sua

lly

ha

ve

us

be

lie

ve

;

mo

st e

xpe

rie

nce

s a

re u

nsa

ya

ble

, th

ey

ha

pp

en

in

a s

pa

ce t

ha

t n

o w

ord

ha

s e

ve

r

en

tere

d,

an

d m

ore

un

say

ab

le t

ha

n a

ll

oth

er

thin

gs

are

wo

rks

of

art

, th

ose

my

ste

rio

us

exi

ste

nce

s, w

ho

se l

ife

en

du

res

be

sid

e o

ur

ow

n s

ma

ll,

tra

nsi

tory

life

.”

6.

Wh

at

wo

rds

rep

ea

t in

th

is p

ass

ag

e?

Wh

at

be

lie

f d

oe

s R

ilke

ch

alle

ng

e t

hro

ug

h

the

se r

ep

eti

tio

ns?

7.

Wh

at

“lif

e”

do

es

Ril

ke

att

rib

ute

to

wo

rks

of

art

? H

ow

do

es

the

lif

e o

f a

rt

com

pa

re t

o h

um

an

lif

e?

It

ma

y b

e

ne

cess

ary

to

off

er

stu

de

nts

a d

efi

nit

ion

of

the

wo

rd t

ran

sito

ry a

s m

ea

nin

g

"so

me

thin

g t

ha

t d

oe

sn’t

la

st v

ery

lo

ng

."

Lea

d a

bri

ef

cla

ss d

iscu

ssio

n o

f st

ud

en

t

resp

on

ses

to q

ue

stio

ns

1–

7.

Co

nti

nu

e t

o

rem

ind

stu

de

nts

to

use

exp

lici

t te

xtu

al

ev

ide

nce

to

su

pp

ort

th

eir

an

swe

rs.

6.

Th

ere

is

rep

eti

tio

n o

f th

e w

ord

saya

ble

in

th

e w

ord

un

saya

ble

. R

ilk

e

cha

lle

ng

es

the

be

lie

f th

at

“th

ing

s”

can

be

exp

ress

ed

th

rou

gh

wo

rds,

or

ev

en

un

de

rsto

od

at

all

.

7.

Art

ha

s a

lif

e t

ha

t is

“m

yst

eri

ou

s”

an

d t

ha

t “e

nd

ure

s” b

ey

on

d R

ilk

e’s

(or

an

y h

um

an

’s)

“tra

nsi

tory

” li

fe.

Art

ha

s a

lif

e t

ha

t la

sts

fore

ve

r.

Ext

en

sio

n:

Ask

stu

de

nts

to

de

fin

e t

he

wo

rd

en

du

re.

Stu

de

nt

resp

on

ses

ma

y i

ncl

ud

e t

he

foll

ow

ing

:

·E

nd

ure

me

an

s "t

o l

ast

." H

e s

ay

s

the

art

wil

l e

nd

ure

be

yon

d t

he

art

ist

·In

oth

er

con

text

s, e

nd

ure

co

uld

me

an

to

“b

ea

r o

r to

lera

te,”

as

in

“to

en

du

re p

ain

.”

10

%

Qu

ick

Wri

te

D

isp

lay

th

e f

oll

ow

ing

pro

mp

t fo

r st

ud

en

ts

to r

esp

on

d t

o i

nd

ep

en

de

ntl

y:

Ba

sed

on

re

ad

ing

an

d c

lass

dis

cuss

ion

,

bri

efl

y r

esp

on

d t

o t

he

fo

llo

win

g p

rom

pt:

Stu

de

nts

re

spo

nd

in

wri

tin

g t

o t

he

Qu

ick

Wri

te p

rom

pt.

Se

e H

igh

Pe

rfo

rma

nce

Re

spo

nse

at

the

be

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nin

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f th

is l

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on

.

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11

Wh

at

rela

tio

nsh

ip i

s R

ilk

e e

sta

bli

shin

g

be

twe

en

la

ng

ua

ge

an

d a

rt?

Ho

w d

oe

s

this

su

pp

ort

his

ass

ert

ion

s a

bo

ut

the

use

fuln

ess

of

crit

icis

m?

Wh

at

ev

ide

nce

sup

po

rts

yo

ur

thin

kin

g?

Co

lle

ct w

ritt

en

re

spo

nse

s a

s st

ud

en

ts

lea

ve

.

5%

C

losi

ng

F

or

ho

me

wo

rk,

inst

ruct

stu

de

nts

to

ind

ep

en

de

ntl

y r

ere

ad

th

e s

eco

nd

pa

rag

rap

h a

nd

an

no

tate

, fo

cusi

ng

th

eir

an

no

tati

on

of

the

te

xt w

ith

th

e f

oll

ow

ing

qu

est

ion

: H

ow

do

es

Rilk

e’s

ap

pro

ach

in

the

se

con

d p

ara

gra

ph

co

mp

are

to

his

“pre

face

”?

Th

ey

sh

ou

ld b

e p

rep

are

d t

o d

iscu

ss t

he

ir

an

no

tati

on

s in

th

e f

oll

ow

ing

le

sso

n.

Re

min

d s

tud

en

ts t

ha

t th

e a

nn

ota

tio

n

cod

es

the

y s

ho

uld

use

in

clu

de

th

e

foll

ow

ing

:

·B

oxi

ng

un

fam

ilia

r w

ord

s

·S

tarr

ing

im

po

rta

nt

ide

as

·W

riti

ng

th

ou

gh

ts,

rea

ctio

ns,

or

con

ne

ctio

ns

Inst

ruct

stu

de

nts

to

be

pre

pa

red

to

dis

cuss

th

eir

an

no

tati

on

s in

pa

irs.

Stu

de

nt

rea

d,

an

no

tate

, a

nd

pre

pa

re

for

dis

cuss

ion

.

203

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12

Ho

me

wo

rk

Stu

de

nts

in

de

pe

nd

en

tly

re

rea

d t

he

se

con

d p

ara

gra

ph

an

d f

ocu

s th

eir

an

no

tati

on

of

the

te

xt w

ith

th

e f

oll

ow

ing

qu

est

ion

: H

ow

do

es

Rilke

’s

ap

pro

ach

in

th

e s

eco

nd

pa

rag

rap

h c

om

pa

re t

o h

is “

pre

face

”? T

he

y s

ho

uld

be

pre

pa

red

to

dis

cuss

th

eir

an

no

tati

on

s in

th

e n

ext

less

on

(Le

sso

n 2

).

No

te:

Re

min

d s

tud

en

ts t

ha

t th

e a

nn

ota

tio

n c

od

es

the

y s

ho

uld

use

in

clu

de

th

e f

ollo

win

g:

·B

oxi

ng

un

fam

ilia

r w

ord

s

·S

tarr

ing

im

po

rta

nt

ide

as

·W

riti

ng

th

ou

gh

ts,

rea

ctio

ns,

or

con

ne

ctio

ns

Inst

ruct

stu

de

nts

to

be

pre

pa

red

to

dis

cuss

th

eir

an

no

tati

on

s in

pa

irs.

204






1

9.1.2 Lesson 10

Introduction

In this lesson, students will be introduced to the End-of-Unit Assessment prompts, one of which they

will respond to in the next lesson: “How might Rilke’s counsel also apply to Jason? Or How might

Madame Crommelynck’s counsel also apply to the young poet? In your essay, discuss how the author's

word choice and phrasing impact the effectiveness of their counsel.”

This assessment gauges students’ ability to use textual evidence by asking them to engage in analysis

across two texts. The thematic and topical similarities between the texts provide rich opportunities for

exploration, and students will find robust evidence to support their thinking about this prompt.

To prepare for this assessment, students will gather and discuss connections among textual details that

might be used in the next lesson. Working together, they will analyze these details to identify those

that allow them to determine the predicament of each mentee in Rilke’s Letter One and Mitchell’s

Black Swan Green. They will then select either Madame or Rilke’s advice and consider how it might

apply to the protégé in the other story. Making connections across texts is a key component of literacy

learning in the CCSS, and students bring their understanding of both texts to bear on this task.

Standards

Addressed Standard(s)

RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says


Assessment

Assessment(s)

This lesson is preparation for the End-of-Unit Summative Assessment, so there is no formal assessment

in this lesson. Rather, take opportunities to ensure and clarify student understanding during group

work and class discussion. Written evidence of understanding can come through the two End-of-Unit

Assessment tools: the Predicament Analysis tool and the Assessment Preparation tool.

High Performance Response(s)

The following indicate solid preparation using the two assessment preparation tools:

· A selection of details from both texts that work together to create a clear analytic idea

· Details that are a mix of more and less obvious selections, with less obvious selections potentially

indicating deeper, more original thinking

· Commentary on how the details relate, and how language in the details helps the reader

understand the connections

205






2

Vocabulary

Vocabulary to Provide Directly (will not include extended instruction)

· predicament (n.) – an unpleasantly difficult, perplexing, or dangerous situation

Vocabulary to Teach (may include direct word work and/or text-dependent questions)

· None.

Lesson Agenda/Overview

Student-Facing Agenda % of Lesson

• Standards: RL.9-10.1

• Texts: Letter One from Rainer Maria Rilke’s Letters to a Young Poet (pp. 3-

12); excerpts from Black Swan Green (pp. 142–156)

• Introduction of Lesson Agenda

• Homework Accountability

• Analysis of Predicaments Tool

• Assessment Preparation Tool

• Closing

5%

5%

40%

45%

5%

Materials

• Predicament Analysis Tool

• Unit 9.1.2 Final Assessment

• Assessment Preparation: Connecting the Texts

206

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Less

on

Te

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er

Act

ion

s S

tud

en

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ns

Inst

ruct

ion

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No

tes

(ex

ten

sio

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sup

po

rts,

co

mm

on

mis

un

de

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s)

5%

In

tro

du

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B

eg

in b

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ev

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th

e a

ge

nd

a a

nd

sh

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the

sta

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s fo

r th

is l

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on

: R

L.9

-10

.1.

Exp

lain

to

stu

de

nts

th

at

the

up

com

ing

ass

ess

me

nt

wil

l a

sk t

he

m t

o p

ract

ice

usi

ng

ev

ide

nce

by

loo

kin

g a

cro

ss t

wo

te

xts.

Te

ll s

tud

en

ts t

ha

t, i

n t

his

less

on

, th

ey

wil

l

be

gin

pre

pa

rin

g f

or

the

ass

ess

me

nt

by

thin

kin

g a

bo

ut

con

ne

ctio

ns

be

twe

en

th

e

de

tail

s in

th

e t

wo

te

xts

the

y h

ave

re

ad

in

th

is

un

it:

Ril

ke’s

Le

tte

r O

ne

an

d t

he

tw

o e

xce

rpts

fro

m M

itch

ell

’s B

lack

Sw

an

Gre

en

.

Stu

de

nts

lo

ok

at

the

ag

en

da

.

5%

H

om

ew

ork

Acc

ou

nta

bil

ity

Le

ad

a b

rie

f (3

–5

min

ute

) sh

are

ou

t o

n t

he

pre

vio

us

less

on

’s A

IR h

om

ew

ork

ass

ign

me

nt.

Se

lect

se

ve

ral

stu

de

nts

(o

r st

ud

en

t p

air

s) t

o

exp

lain

ho

w t

he

y a

pp

lie

d t

he

ir f

ocu

s

sta

nd

ard

to

th

eir

AIR

te

xt.

Stu

de

nts

(o

r st

ud

en

t p

air

s) s

ha

re o

ut

on

ho

w t

he

y a

pp

lie

d t

he

ir f

ocu

s st

an

da

rd t

o

the

ir A

IR t

ext

fro

m t

he

pre

vio

us

less

on

’s

ho

me

wo

rk.

40

%

An

aly

sis

of

Pre

dic

am

en

ts T

oo

l

A

sk s

tud

en

ts t

o t

ak

e o

ut

the

ir n

ote

s a

nd

all

an

no

tate

d t

ext

s. T

ell

th

em

th

ey

wil

l u

se

the

se i

n t

he

ir w

ork

to

da

y to

an

aly

ze t

he

pre

dic

am

en

ts o

f b

oth

th

e y

ou

ng

po

et

an

d

T

his

un

de

rsta

nd

ing

wil

l b

e

imp

ort

an

t fo

r th

e u

pco

min

g E

nd

-

of-

Un

it A

sse

ssm

en

t.

207

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S C

om

mo

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& L

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/20

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on

sult

ing

Gro

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his

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lice

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Cre

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Co

mm

on

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are

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/cre

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en

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-nc-

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4

Jaso

n.

Pro

ject

an

d d

istr

ibu

te a

co

py

of

the

Pre

dic

am

en

t A

na

lysi

s to

ol.

Sh

are

wit

h

stu

de

nts

th

e e

xam

ple

s p

rov

ide

d o

n t

he

ha

nd

ou

t.

To

en

sure

co

mp

reh

en

sio

n,

dis

cuss

th

e

me

an

ing

of

pre

dic

am

en

t w

ith

th

e s

tud

en

ts.

pre

dic

am

en

t (n

.) –

an

un

ple

asa

ntl

y d

iffi

cult

,

pe

rple

xin

g,

or

da

ng

ero

us

situ

ati

on

Inst

ruct

stu

de

nts

to

bre

ak

into

gro

up

s o

f 3

or

4.

Exp

lain

th

at

the

y w

ill

use

th

is t

oo

l to

lo

ok

for

de

tail

s th

at

he

lp t

he

m u

nd

ers

tan

d t

he

pre

dic

am

en

t o

f th

e y

ou

ng

po

et

(co

lum

n 1

)

an

d J

aso

n (

colu

mn

2).

In

stru

ct s

tud

en

ts t

o

wo

rk c

oll

ab

ora

tive

ly,

usi

ng

th

eir

no

tes,

to

fin

d t

ext

ua

l ev

ide

nce

exp

lain

ing

th

e t

wo

cha

ract

ers

’ p

red

ica

me

nts

.

Stu

de

nts

wo

rk i

n g

rou

ps.

If

stu

de

nts

str

ug

gle

to

be

gin

, it

ma

y

be

he

lpfu

l to

dir

ect

stu

de

nts

to

the

se s

en

ten

ces

on

th

e t

oo

l: “

Wh

y

is t

he

Yo

un

g P

oe

t g

ett

ing

ad

vic

e

fro

m R

ilke

?”

an

d “

Wh

y i

s Ja

son

ge

ttin

g a

dv

ice

fro

m M

ad

am

e?

” T

ell

stu

de

nts

th

at

thin

kin

g a

bo

ut

the

se

qu

est

ion

s is

a g

oo

d w

ay

to

ap

pro

ach

th

is.

Ask

stu

de

nts

to

ta

ke

a m

om

en

t to

wri

te a

sum

ma

ry (

ind

ep

en

de

ntl

y)

of

ea

ch

cha

ract

er’

s p

red

ica

me

nt

in t

he

ir o

wn

wo

rds.

Stu

de

nts

ma

y w

rite

th

e s

um

ma

ry i

n t

he

ir

no

tes

or

on

th

e P

red

ica

me

nt

An

aly

sis

too

l.

Lea

d a

bri

ef

wh

ole

-cla

ss d

iscu

ssio

n t

o c

he

ck

for

un

de

rsta

nd

ing

.

Stu

de

nt

resp

on

ses

ma

y i

ncl

ud

e t

he

foll

ow

ing

:

·Y

ou

ng

po

et

is s

ee

kin

g a

dv

ice

be

cau

se

he

is

un

sure

of

the

qu

ali

ty o

f h

is v

ers

e.

·T

he

yo

un

g p

oe

t’s

pre

dic

am

en

t is

pri

ma

rily

pe

rso

na

l; h

e i

s w

on

de

rin

g

ab

ou

t h

is p

oe

ms

an

d t

alk

s to

a s

ing

le

ou

tsid

e s

ou

rce

.

·Ja

son

is

rece

ivin

g a

dv

ice

be

cau

se

Ma

da

me

fe

els

he

is

no

t b

ein

g t

rue

to

his

he

art

.

Ch

eck

th

at

stu

de

nts

are

syn

the

sizi

ng

th

e t

ext

ua

l e

vid

en

ce

in g

rou

p d

iscu

ssio

n,

an

d i

n t

he

ir

ind

ep

en

de

ntl

y w

ritt

en

sta

tem

en

ts.

208

NY

S C

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& L

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T

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0

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on

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ing

Gro

up

. T

his

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5

·Ja

son

’s p

red

ica

me

nt

ha

s a

mo

re

dis

tin

ctly

so

cia

l ele

me

nt,

as

he

is

con

cern

ed

ab

ou

t th

e c

on

seq

ue

nce

s o

f

wri

tin

g t

ruth

full

y.

45

%

Ass

ess

me

nt

Pre

pa

rati

on

To

ol

In

tro

du

ce t

he

En

d-o

f-U

nit

Ass

ess

me

nt.

Dis

pla

y t

he

ass

ess

me

nt

pro

mp

ts,

an

d a

sk

stu

de

nts

to

re

ad

th

e p

rom

pts

sil

en

tly

. T

he

n,

he

lp s

tud

en

ts f

ocu

s o

n t

he

ke

y e

lem

en

ts o

f

the

pro

mp

ts b

y r

ea

din

g a

lou

d.

Stu

de

nts

wil

l re

ad

pro

mp

t si

len

tly

an

d t

he

n

ask

qu

est

ion

s.

Pa

ss o

ut

an

d p

roje

ct t

he

Ass

ess

me

nt

Pre

pa

rati

on

to

ol

an

d t

ell

stu

de

nts

th

at

the

ne

xt s

tep

is

to s

ele

ct t

he

me

nto

r/m

en

tee

pa

ir t

he

y w

ou

ld l

ike

to

fo

cus

on

(R

ilk

e a

nd

Jaso

n o

r M

ad

am

e a

nd

th

e y

ou

ng

po

et)

.

Exp

lain

th

at

stu

de

nts

sh

ou

ld e

xam

ine

th

eir

no

tes,

te

xts,

an

no

tati

on

s, a

nd

oth

er

ma

teri

als

to

loo

k f

or

ad

vic

e t

he

ir c

ho

sen

me

nto

r g

ive

s (C

olu

mn

1)

an

d e

xpla

in h

ow

tha

t a

dv

ice

wo

uld

ap

ply

to

th

eir

ch

ose

n

me

nte

e (

Co

lum

n 2

).

Sh

are

an

d d

iscu

ss t

he

exa

mp

le p

rov

ide

d a

nd

all

ow

tim

e f

or

stu

de

nts

to

ask

qu

est

ion

s.

Stu

de

nts

lis

ten

an

d a

sk q

ue

stio

ns.

If

stu

de

nts

are

co

nfu

sed

, it

ma

y b

e

he

lpfu

l to

po

int

ou

t th

at

the

le

ft-

ha

nd

co

lum

n is

wh

ere

th

ey

reco

rd

de

tail

s fr

om

th

e t

ext

. In

th

e r

igh

t -

ha

nd

co

lum

n,

the

y w

ill e

xpla

in h

ow

this

de

tail

(a

dv

ice

) w

ou

ld a

pp

ly t

o

the

fig

ure

fro

m t

he

oth

er

text

.

It m

ay

be

he

lpfu

l to

en

sure

th

at

stu

de

nts

kn

ow

th

e t

erm

s m

en

tor

an

d m

en

tee

.

Re

min

d s

tud

en

ts t

ha

t th

ey

alr

ea

dy

ha

ve

ma

ny

de

tail

s in

th

eir

no

tes,

an

no

tati

on

s, a

nd

oth

er

ha

nd

ou

ts.

En

cou

rag

e t

he

m t

o a

cce

ss t

ho

se

ma

teri

als

.

Inst

ruct

stu

de

nts

to

wo

rk in

de

pe

nd

en

tly

to

sele

ct a

me

nto

r/m

en

tee

pa

ir a

nd

be

gin

ga

the

rin

g d

eta

ils.

Stu

de

nts

wo

rk i

nd

ep

en

de

ntl

y o

n t

he

to

ol,

ga

the

rin

g e

vid

en

ce a

nd

th

ink

ing

ab

ou

t h

ow

it a

pp

lie

s to

th

e f

igu

re f

rom

th

e o

the

r te

xt.

Ch

eck

th

at

stu

de

nts

are

ga

the

rin

g

rele

va

nt

exa

mp

les

tha

t co

nn

ect

to

the

oth

er

text

. C

au

tio

n s

tud

en

ts

no

t to

be

sa

tisf

ied

wit

h t

he

mo

st

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en

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6

Po

ssib

le s

tud

en

t re

spo

nse

s in

clu

de

:

·R

ilk

e t

ell

s th

e y

ou

ng

po

et

to w

rite

ab

ou

t h

is “

ow

n e

ve

ryd

ay

life

” a

nd

to

“de

scri

be

[it

] w

ith

lo

vin

g,

qu

iet,

hu

mb

le

sin

ceri

ty”

Th

is a

dv

ice

co

nn

ect

s to

Ma

da

me

’s p

rais

e o

f th

e s

ince

rity

dis

pla

ye

d i

n t

he

po

em

ab

ou

t Ja

son

’s

mo

the

r a

nd

fa

the

r’s

arg

uin

g,

a s

cen

e

fro

m h

is e

ve

ryd

ay

life

.

·M

ad

am

e’s

wa

rnin

g n

ot

to “

com

po

se

de

riv

ati

ve

ve

rse

s o

f cu

pid

s a

nd

cli

ché

,”

bu

t ra

the

r to

re

ma

in t

rue

to

his

un

iqu

e,

ori

gin

al

pe

rsp

ect

ive

on

his

ow

n l

ife

, is

a

go

od

pie

ce o

f a

dv

ice

to

th

e y

ou

ng

po

et,

wh

o R

ilke

ha

s sa

id h

as

ye

t to

fin

d h

is

ow

n v

oic

e.

ob

vio

us

con

ne

ctio

ns,

th

ou

gh

th

ey

ma

y b

e a

n a

pp

rop

ria

te p

lace

to

sta

rt.

Inst

ea

d,

loo

k fo

r m

ult

iple

con

ne

ctio

ns

an

d s

ele

ct t

ho

se t

ha

t

off

er

the

ric

he

st d

eta

ils

for

sup

po

rt.

Aft

er

stu

de

nts

ha

ve

ha

d t

ime

to

ga

the

r

de

tail

s in

de

pe

nd

en

tly

, b

rea

k t

he

m i

nto

sm

all

gro

up

s o

f 3

or

4,

ba

sed

on

th

eir

ch

oic

e o

f

me

nto

r/m

en

tee

pa

irs.

Inst

ruct

stu

de

nts

to

dis

cuss

th

eir

exa

mp

les

an

d a

dd

in

sig

hts

fro

m t

he

ir d

iscu

ssio

n t

o

the

ir n

ote

s.

Stu

de

nts

dis

cuss

th

eir

exa

mp

les

in t

he

ir

gro

up

s.

Th

is d

iscu

ssio

n i

s a

n im

po

rta

nt

op

po

rtu

nit

y b

oth

fo

r sy

nth

esi

s a

nd

for

lea

rnin

g f

rom

pe

ers

.

5%

C

losi

ng

T

ell

stu

de

nts

th

at

the

y w

ill c

on

tin

ue

to

sh

ap

e

the

ir d

eta

ils

into

a w

ritt

en

re

spo

nse

to

th

e

ess

ay i

n t

he

ne

xt le

sso

n.

Fo

r h

om

ew

ork

, in

stru

ct s

tud

en

ts t

o c

on

tin

ue

to lo

ok

fo

r d

eta

ils

usi

ng

th

e t

oo

l to

he

lp

pre

pa

re t

he

m f

or

the

En

d-o

f-U

nit

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8

Predicament Analysis Tool

The Young Poet’s Predicament:

Why is the young poet getting advice from Rilke?

Jason’s Predicament:

Why is Jason getting advice from Madame?

p. 15: Rilke reads the poems of the young poet.

Rilke tells him that he lacks “individual style.”

p. 146. Madame “jabs” Jason’s heart and tells him

that in his poetry he has to express what is there.

Summary of Jason’s predicament:

Summary of the young poet’s predicament:

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9

Unit 9.1.2 Final Assessment

You have read excerpts from Letters to a Young Poet by Rainer Maria Rilke (an informational text) and

Black Swan Green by David Mitchell (a work of fiction). In both texts, a young, aspiring poet receives the

counsel of an older mentor.

Compose a well-developed essay in response to one of the following prompts:

How might Rilke’s counsel also apply to Jason?

OR

How might Madame Crommelynck’s counsel also apply to the young poet?

High Performance responses should include the following components:

· An introductory paragraph that

o identifies the texts and author.

o identifies the mentor (Rilke or Madame).

o identifies the mentee (the young poet or Jason).

o connects details to explain how the mentor’s counsel to his/her original mentee also

applies to the mentee in the other text.

· An evidence-based description of the young poet’s or Jason’s predicament. For example, if you

are applying advice to the young poet, describe the situation for which the young poet seeks

counsel.

· An explanation of how Rilke’s advice applies to Jason or how Madame’s advice applies to the

young poet, including a discussion of the author’s word choice and phrasing.

· An explanation of how the author’s word choice and phrasing influence the effectiveness of the

advice.

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10

Assessment Preparation: Connecting the Texts

How would Rilke’s advice apply to Jason or Madame Crommelynck’s advice apply to the young poet?

Rilke’s/Madame’s Advice

Example Student’s Choice: Madame

Application of Advice to Jason/Young Poet

Advice to Young Poet

p. 146: Madame tells Jason to express what is in

his heart.

Madame: "The young poet must, in order to write

well, reach deep into his heart."

Rilke’s/Madame’s Advice

Your Choice: ___________________________

Application of Advice to Jason/Young Poet

Advice to _______________________________

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Documents

PD Handouts- Teaching Literary Non-Fiction - EngageNY · 9.1.2 Unit Overview ... students will dive deeply into a study of academic language and examine how both ... PD Handouts-