and Places Changing Times Unit Unit Overview Essential Questions

Transcription

1 Unit 5 Changing Times and Places?? Essential Questions Why do objects change over time, and how does this change affect society? How does setting affect characterization and plot? Unit Overview Humans have always been fascinated by storytelling. We love to hear and tell stories and to watch stories dramatized. This unit will allow you to experience many aspects of dramatic storytelling. You will be given opportunities to read, watch, and analyze dramatic texts in order to understand the conventions of drama. You then will apply the conventions to an original text to transform it into something new. 307

2 Unit 5 Goals To research, gather, and organize content to achieve purpose for a presentation To relate setting to action, characterization, and plot To define, identify, and analyze various elements of drama To rehearse and present an engaging performance ACADEMIC VOCABULARY Research Tone Presentation Drama Changing Times and Places Contents Learning Focus: What Is Research? Activities: 5.1 Previewing the Unit Passing of Time Recognizing How Time Relates to Change Creating a Works Cited Page Technology Changes Short Story: The Fun They Had, by Isaac Asimov Embedded Assessment 1 Researching and Presenting an Item That Has Changed over Time Learning Focus: What Is Performance? Forced Changes Fable: The Millionaire Miser, told by Aaron Shepard 5.7 Tone Changes Reader s Theatre Drama: The Millionaire Miser 5.9 Learning Lear s Limericks Limerick Poems: Limericks from A Book of Nonsense, by Edward Lear 5.10 Poetry Presentation Creating a Dramatic Script from a Poem Poem: Footwear Follies, by Chip Westington (student) 5.12 Building Vocabulary Guided Reading of Rip Van Winkle Drama: Rip Van Winkle, by Washington Irving, dramatized by Adele Thane 308 SpringBoard English Textual Power Level 1

3 5.14 Poetry Performance Poem: Worth Hearing, by Kristine O Connell George Poem: Fireflies, by Paul Fleischman 5.15 Drama Games Playing with Time Periods Embedded Assessment 2 Transforming and Performing a Scene from a Play Unit Reflection

4 Learning Focus: What Is Research? Experienced writers realize that there are times when their ideas alone are not enough to support an opinion and convince an audience of the validity of that opinion. At such times, writers turn to sources outside themselves. Experienced writers use research regularly to learn about a topic and to use what they learn to support their ideas. You have used various forms of research this year, when you produced a news story and when you wrote a character analysis. Research can take on many forms, depending on a writer s purpose and audience. Usually research is used in expository and persuasive writing, in which the author s purpose is to either explain or persuade the audience on a topic. In these situations, the authors use research to support their ideas or to convince their audiences that their argument is valid. The word research derives from the Old French recercher, with re meaning expressing intensive force and cercher meaning to search. Therefore, research is just as much about the search for information as it is about the use of that information within writing. Writers use both primary and secondary sources in their search for information. Primary source: A document or record containing first-hand information or original data on a topic. (The Online Dictionary for Library and Information Science) Examples include interviews, autobiographies, letters, articles containing original data, newspaper or magazine clippings, artifacts, photography, film, art, and government documents. Secondary source: Any work that is one step removed from the original source, usually describing, summarizing, analyzing, evaluating, derived from, or based on primary source materials. (The Online Dictionary for Library and Information Science) Examples include encyclopedias, Internet sites, textbooks, biographies, review articles, and critical analysis essays. Depending on the validity and accuracy of information found, the use of research can significantly strengthen a writer s ideas and arguments. It can give a writer credibility with the audience, and allow the writer to successfully achieve his or her purpose for writing. Independent Reading: For this unit, you may want to read works of science fiction or nonfiction books about inventors and inventions. 310 SpringBoard English Textual Power Level 1

5 ACTIVITY Previewing the Unit 5.1 SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Marking the Text, Think-Pair-Share, Skimming/Scanning, Summarizing/Paraphrasing Essential Questions 1. Why do objects change over time, and how does this change affect society? 2. How does setting affect characterization and plot? Unit Overview and Learning Focus Predict what you think this unit is about. Use the words or phrases that stood out to you when you read the Unit Overview and the Learning Focus. Embedded Assessment 1 What knowledge must you have (what do you need to know)? What skills must you have (what will you need to do to complete the Embedded Assessment successfully)? Write your responses below. Unit 5 Changing Times and Places 311

6 ACTIVITY 5.2 Passing of Time SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Prewriting, Quickwrite, Word Map Using the chart below, brainstorm items you and others use in your everyday life. Then, think about these items in the future: how they might look, how they might be used, and whether they will even exist. Find examples or visuals of the items. Then write notes to describe the graphic or visual data. Items Used Today How might the item look, and how might it be used 10 years from now? Explain your reasoning. How might the item look, and how might it be used 50 years from now? Explain your reasoning. Will this item continue to exist? Explain your reasoning. Think of transitions you have studied this year specifically, transitions dealing with time, or chronological order. List transitions showing chronological order below. Quickwrite: Choose one everyday object and write about how it has changed over time and how it might change in the future. Use transitions to help your audience understand the passage of time in your writing. Use separate paper for your quickwrite. 312 SpringBoard English Textual Power Level 1

7 Recognizing How Time Relates to Change ACTIVITY 5.3 SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Prewriting, Think-Pair-Share 1. After viewing the clip from Big, list below what you notice about Josh after his change. The Changed Josh Still the 12-Year-Old Josh 2. After viewing the clip from Back to the Future, document the artifacts before and after the time travel in the chart below. How have they changed over time? Artifacts in 1985 Artifacts in 1955 WORD CONNECTIONS Artifact contains the Latin root -fact- with the meaning of make or do. This root, also spelled fac, occurs in factory, manufacture, and facilitate. Unit 5 Changing Times and Places 313

8 ACTIVITY 5.3 Recognizing How Time Relates to Change GRAMMAR & USAGE A clause is a group of words with a subject and its verb. An independent clause can stand alone as a sentence. A dependent, or subordinate, clause cannot stand alone because it does not contain a complete thought. It must be linked to an independent clause. When writing sentences with subordinate clauses, keep in mind the following: A dependent clause is often introduced by a subordinating conjunction. An easy way to remember common subordinating conjunctions is through the mnemonic I SAW U BUBA : If, Since, After, When, Unless, Before, Until, Because, Although. Often, no punctuation is required when a dependent clause follows an independent clause. Example: William was late to school because he missed the bus. When a dependent clause begins a sentence, it is often separated from the independent clause with a comma. Example: Because William missed his bus, he was late to school. WORD CONNECTIONS Complete the analogy. Word : sentence :: sentence : 3. One effective way of expressing the significance of the changes in Josh is by using subordinate clauses in sentences. The following example sentences use subordination to show that the information in the independent clause is more important than the information in the dependent clause. The parts of the sentences in boldface type are the dependent, or subordinate, clauses, which cannot stand alone; they must be completed with an independent clause to create a complete sentence. Although Josh is physically an adult, his personality is still that of a 12-year-old. Josh is still very much a child even though he is physically an adult. Whereas Josh seems like an adult, he is actually still a child. Using the example sentences as models, craft three sentences with subordinate clauses. Use the information you have listed in the graphic organizer. Label the part of your sentence that is an independent clause and the part that is a dependent clause. a. b. c. 314 SpringBoard English Textual Power Level 1

9 ACTIVITY Creating a Works Cited Page 5.4 SUGGESTED LEARNING STRATEGIES: Think Aloud, Word Map Citing Research Imagine you need to write a report on Isaac Asimov, the author of the upcoming short story, The Fun They Had. Your research leads you to a Web site, the Isaac Asimov Home Page, where you find something important to include about him. The Web site says that Asimov wrote about computers and robots long before most people knew much about such inventions. You decide to include the following information in a paper you are writing about how Asimov s ideas were used in the science fiction film I, Robot: Asimov s Three Laws of Robotics: 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. Asimov developed the Three Laws because he was tired of the science fiction stories of the 1920s and 1930s in which the robots turned on their creators and became dangerous monsters (Seiler). 1. Notice in the sample above that in the body of the paper, right after you include the information you researched, you give credit to the author by including his name in parentheses. This citation is called parenthetical credit. To avoid plagiarism, you must give parenthetical credit if you quote, if you paraphrase, or if you simply refer to information you have discovered in your research. To paraphrase is to restate information in your own words, while plagiarism is using the identical words of another as your own. 2. You must also create a Works Cited page on which you give full credit to all the sources you use. For each source, you provide the author, title of article, publisher, date of publication, and publication or Web site address. The following models show the format for citing two types of sources a book and a Web page. Your teacher may also show you other similar methods. Works Cited For a book: Last, First Name. Title of Book. Edition. City of Publication: Publishing Company, Year of Publication. For a Web page: Last, First Name of the creator of the source. Web Page Title. Web Site Title. DD Month YYYY (e.g., 05 June 2006). Organization name. Date you visited the site (DD Month YYYY) <URL link>. ACADEMIC VOCABULARY When you research (verb), you locate reliable information from a variety of sources. Used as a noun, the word research also describes the information found from the search for facts. WORD CONNECTIONS The word cite comes from the Latin word meaning to set in motion. Cite has come to mean to quote or refer to. The root -cit- occurs in excite, recite, and incite. Unit 5 Changing Times and Places 315

10 ACTIVITY 5.4 Creating a Works Cited Page 3. Using the sample formats, create Works Cited entries for the information below. Indent all lines except the first line of each entry. Write your entries in the space provided. Remember to underline the titles of books and web sites. You read a book on animal treatment in zoos called Animal Attractions: Nature on Display in American Zoos by Elizabeth Hanson. It was published in 2002 in New York. The publishing company is Princeton University Press. You used information from an article on a Web site entitled National Geographic News. It was written by Lisa Leff and was most recently updated on February 22, The organization who put the site together is National Geographic. The actual title of the article is Tiger Exhibit Reopens at San Francisco Zoo. You went to the site on March 1, The site s URL is Works Cited TECHNOLOGY TIP If you are creating Works Cited entries with a word processing program, place the titles of books in italics. 316 SpringBoard English Textual Power Level 1

11 ACTIVITY 5.4 Internet Sites Some Internet sites may contain more valid information than others. A valid Internet source is one that cyontains information that is well researched, a bibliography or list of resources, and a statement of the site s purpose. One way to know whether a Web site is valid is through its domain suffix. The domain name is the Web address, or Internet identity. The domain suffix, typically the three letters that follow the dot, is the category in which that Web site falls. Domain Suffix.com.org.net.edu.gov Definition/Description Stands for commercial. Web sites with this suffix are created to make a profit from their Internet services. Typically these Web sites sell goods or services. Stands for organization. Primarily used by non-profit groups. Stands for network. Used by Internet service providers, or Web-hosting companies. Stands for education. Used by major universities or educational organizations or institutions. Stands for government. Used by U.S. government sites. 4. Which of the domain suffixes listed above would provide the most valid information for a research project? Why? 5. Which suffixes would provide the least valid information? Why? 6. Go back to the Works Cited entries you wrote. Based only on the information you are given for the Web site, would you consider information from this Internet source to be valid? Why or why not? Unit 5 Changing Times and Places 317

12 ACTIVITY 5.5 Technology Changes SUGGESTED LEARNING STRATEGIES: Close Reading, Marking the Text, Metacognitive Markers, Rereading, Think Aloud, Think-Pair-Share, Visualizing, Sketching My Notes S h o r t Story ABOUT THE AUTHOR Isaac Asimov ( ) was a very prolific writer. He wrote nearly five hundred books on a variety of subjects science, history, literature, medicine, but mainly science fiction. He started writing science fiction stories as a teenager. Always interested in robots, he anticipated the many uses they have today. Asimov is considered one of the best writers of science fiction and science fact in the twentieth century. LITERARY TERMS Science fiction is a genre in which the imaginary elements of the story could be scientifically possible. It differs from fantasy in that it is possible that the story could happen. Stories that are fantasy are based on things that could not happen in real life. by Isaac Asimov Margie even wrote about it that night in her diary. On the page headed May 17, 2157, she wrote, Today Tommy found a real book! It was a very old book. Margie s grandfather once said when he was a little boy his grandfather told him that there was a time when all stories were printed on paper. They turned the pages, which were yellow and crinkly, and it was awfully funny to read words that stood still instead of moving the way they were supposed to on a screen, you know. And then, when they turned back to the page before, it had the same words on it that it had had when they read it the first time. Gee, said Tommy, what a waste. When you re through with the book, you just throw it away, I guess. Our television screen must have had a million books on it and it s good for plenty more. I wouldn t throw it away. Same with mine, said Margie. She was eleven and hadn t seen as many telebooks as Tommy had. He was thirteen. She said, Where did you find it? In my house. He pointed without looking, because he was busy reading. In the attic. What s it about? School. Margie was scornful. School? What s there to write about school? I hate school. 318 SpringBoard English Textual Power Level 1

13 ACTIVITY 5.5 Margie always hated school, but now she hated it more than ever. The mechanical teacher had been giving her test after test in geography and she had been doing worse and worse until her mother had shaken her head sorrowfully and sent for the County Inspector. He was a round little man with a red face and a whole box of tools with dials and wires. He smiled at Margie and gave her an apple, then took the teacher apart. Margie had hoped he wouldn t know how to put it together again, but he knew how all right, and, after an hour or so, there it was again, large and black and ugly, with a big screen on which all the lessons were shown and the questions were asked. That wasn t so bad. The part Margie hated most was the slot where she had to put homework and test papers. She always had to write them out in a punch code they made her learn when she was six years old, and the mechanical teacher calculated the mark in no time. The Inspector had smiled after he was finished and patted Margie s head. He said to her mother, It s not the little girl s fault, Mrs. Jones. I think the geography sector was geared a little too quick. Those things happen sometimes. I ve slowed it up to an average ten-year level. Actually, the overall pattern of her progress is quite satisfactory. And he patted Margie s head again. Margie was disappointed. She had been hoping they would take the teacher away altogether. They had once taken Tommy s teacher away for nearly a month because the history sector had blanked out completely. So she said to Tommy, Why would anyone write about school? Tommy looked at her with very superior eyes. Because it s not our kind of school, stupid. This is the old kind of school that they had hundreds and hundreds of years ago. He added loftily, pronouncing the word carefully, Centuries ago. Margie was hurt. Well, I don t know what kind of school they had all that time ago. She read the book over his shoulder for a while, then said, Anyway, they had a teacher. Sure they had a teacher, but it wasn t a regular teacher. It was a man. A man? How could a man be a teacher? Well, he just told the boys and girls things and gave them homework and asked them questions. A man isn t smart enough. Sure he is. My father knows as much as my teacher. He can t. A man can t know as much as a teacher. He knows almost as much, I betcha. My Notes Unit 5 Changing Times and Places 319

14 ACTIVITY 5.5 Technology Changes My Notes Margie wasn t prepared to dispute that. She said, I wouldn t want a strange man in my house to teach me. Tommy screamed with laughter. You don t know much, Margie. The teachers didn t live in the house. They had a special building and all the kids went there. And all the kids learned the same thing? Sure, if they were the same age. But my mother says a teacher has to be adjusted to fit the mind of each boy and girl it teaches and that each kid has to be taught differently. Just the same they didn t do it that way then. If you don t like it, you don t have to read the book. I didn t say I didn t like it, Margie said quickly. She wanted to read about those funny schools. They weren t even half-finished when Margie s mother called, Margie! School! Margie looked up. Not yet, Mamma. Now! said Mrs. Jones. And it s probably time for Tommy, too. Margie said to Tommy, Can I read the book some more with you after school? Maybe, he said nonchalantly. He walked away whistling, the dusty old book tucked beneath his arm. Margie went into the schoolroom. It was right next to her bedroom, and the mechanical teacher was on and waiting for her. It was always on at the same time every day except Saturday and Sunday, because her mother said little girls learned better if they learned at regular hours. The screen was lit up, and it said: Today s arithmetic lesson is on the addition of proper fractions. Please insert yesterday s homework in the proper slot. Margie did so with a sigh. She was thinking about the old schools they had when her grandfather s grandfather was a little boy. All the kids from the whole neighborhood came, laughing and shouting in the schoolyard, sitting together in the schoolroom, going home together at the end of the day. They learned the same things, so they could help one another on the homework and talk about it. And the teachers were people. The mechanical teacher was flashing on the screen: When we add the fractions ½ and ¼. Margie was thinking about how the kids must have loved it in the old days. She was thinking about the fun they had. 320 SpringBoard English Textual Power Level 1

15 Researching and Presenting an Item That Has Changed over Time SUGGESTED LEARNING STRATEGIES: Revisiting Prior Work, Graphic Organizer, Prewriting, Drafting, Revising, Peer-Editing Embedded Assessment 1 Assignment Working with a partner, your assignment is to explore the idea of change over time by choosing an item of everyday use, such as a backpack or a clock, and researching its creation and development over time. You and your partner will present to the class the story of this object and display pictures or artifacts that represent its stages of development: creation, growth and change, impact. Your final product must include the written text, including parenthetical credit and a Works Cited page, a display that includes both visuals and captions, and an oral presentation. Steps Prewriting 1. Look over your brainstorming and lists of objects from Activity 5.2. With your partner, decide on an object to research. Choose an object no one else is researching, and get your teacher s approval. Be sure you will be able to find enough information about your object. 2. Use at least three sources for your research. One of your sources must be a book, and one of your sources must be from a valid online source. Evaluate the relevance and reliability of your potential sources. Carefully record the information you will need for your Works Cited page. TECHNOLOGY TIP You may want to check with your teacher or your school s media center specialist to get help in using an online search engine and choosing the best words or phrases related to your topic. Drafting 3. Begin organizing information from your research by answering the questions in the graphic organizer below. These questions will get you thinking about the stages of your object. Creation Growth and Change Impact When did the object first appear? What were the causes/reasons for its appearance? How has the object evolved, or changed? What caused changes in it over time? How did the object affect everyday life or behavior of people? What will be its impact on the future? Unit 5 Changing Times and Places 321

16 Embedded Assessment 1 Researching and Presenting an Item That Has Changed over Time 4. After answering the questions in the preceding graphic organizer, complete the following organizer to help you organize the facts from your research and outline your presentation. Facts about the object s development Stage (creation, change, impact) Transitions to show order or cause Visual or artifact 5. Draft your text explaining your object s development over time. Be sure to explain your object s creation, growth and change, and impact. Include parenthetical credit where appropriate. Use transitions that show chronological order. 6. Create the display you will use to present your information to the class (e.g., three-panel display, diorama, artifact display, slide presentation software). Your display must include both visuals or artifacts that represent the stages of development and captions that explain the visuals. Create a Works Cited page using proper mechanics to cite from your sources. 7. Plan your oral presentation. Keep in mind that you will refer to your display material as you tell the story of the evolution of the object over time, but you will not read from it directly. You may want to outline your speaking parts and identify the transitional words you will use. During the oral presentation, I am responsible for these parts: Transition words I will use: 322 SpringBoard English Textual Power Level 1

17 Embedded Assessment 1 Revising 8. After you have completed the written portion, read it carefully to be sure you have produced a text that clearly communicates the information you have discovered. Your text should follow these guidelines: It focuses specifically on the object you have researched and its changes over time. It is well organized and includes supporting details and examples, including parenthetical credit. Your word choice clearly communicates your research to your audience, and your research provides you with adequate support when you make your oral presentation. 9. Revisit the Scoring Guide to further aid revisions. Editing for Publication 10. After you have revised your text, work with a partner to help you edit your text by identifying errors in spelling, capitalization, and punctuation that could interfere with your ability to communicate clearly to your audience. 11. Apply this same process of revising and editing to your visual display. Rehearsal and Presentation 12. Practice your oral delivery ahead of time so that you and your partner are comfortable presenting the information. Remember that transitions to show chronological order and to show cause and effect will help your audience follow your story of the evolution of the object over time. Consider how you will reference and incorporate your display. 13. Following your teacher s instructions, present the story of your object to the class. Unit 5 Changing Times and Places 323

18 Embedded Assessment 1 Researching and Presenting an Item That Has Changed over Time SCORING GUIDE Scoring Criteria Exemplary Proficient Emerging Ideas The written text thoroughly documents the development of an object over time. The text documents the development of an object over time. The text does not document the development of the object over time. The display includes multiple insightful pictures or artifacts, and uses captions effectively to represent different stages of the object s development. The project demonstrates extensive research with credible and relevant sources. The display includes pictures, artifacts, and captions that represent the stages of the object s development. The project demonstrates research in relevant sources. Pictures, artifacts, and/or captions are distracting or are missing. The project lacks evidence of research and appropriate sources. Organization The text is focused, well organized, and includes important details and examples. The writing is focused, organized, and includes details and examples. Writing is unfocused and disorganized. Presentation The oral delivery makes effective reference to the display, seamlessly weaving in transitions that show chronological order to enhance the audience s understanding of the presentation. The oral delivery makes reference to the display, using transitions that show chronological order to help the audience understand the presentation. The oral delivery makes little reference to the display or may rely only on the display to communicate ideas. Few transitions are employed. 324 SpringBoard English Textual Power Level 1

19 Embedded Assessment 1 SCORING GUIDE Scoring Criteria Exemplary Proficient Emerging Use of Language Word choice directly clarifies how the object developed over time and clearly communicates extensive research. Transitions help indicate change over time. Word choice clarifies how the object developed over time and communicates research. Some transitions indicate change over time. Word choice does little to clarify how the object developed over time and to communicate research. Few transitions are used. Evidence of Rehearsal and Collaboration The oral delivery demonstrates evidence of thoughtful rehearsal. The oral delivery shows some evidence of rehearsed preparation. The oral delivery shows little evidence of preparation. Conventions Writing contains few or no errors in spelling, punctuation, or capitalization. Parenthetical credit is accurate in the body of the text. The Works Cited page is correctly formatted with no errors in citation. Spelling, punctuation, and capitalization mistakes do not detract from the text. Most of the parenthetical credit is accurate in the body of the text. The Works Cited page is correctly formatted with few errors in citation. Spelling, punctuation, or capitalization mistakes detract from meaning and/ or readability. Parenthetical credit is inaccurate in the body of the text. The Works Cited page is missing or incomplete, and it contains numerous errors in formatting and citation. Comments: Unit 5 Changing Times and Places 325

20 Learning Focus: What Is Performance? We are surrounded by examples of performance in our society. Any time we watch a movie or television, listen to the radio, or attend a play or concert, we are witnesses to performance. Performing, meaning to present to an audience, is one of our most basic and successful means of communicating. The most common purpose of performance is to entertain, although performance contains many other purposes, depending on the audience and the situation. Performance may also be a way to explain, explore, and understand. The meaning in a difficult text may appear clearer after seeing it come to life through performance. To perform successfully, you must understand the context and content of what you are performing and have a clear grasp of your intended effect on the audience. A successful performance contains the following elements of drama: Tone of voice: a change of voice to express a particular feeling or mood Set design: the physical appearance of the stage for a play or performance Props: portable objects used in a performance Gestures: movements of parts of the body, especially a hand or the head, to express an idea or meaning Facial expressions: the look on someone s face that conveys a particular emotion Costumes: a set of clothes worn by an actor or performer for a particular role Movements: the act of changing physical position or location on stage Successful performance often depends on collaboration with others. You have worked within collaborative groups this year and know how important the work of each group member is to the overall product. A performance involves every person delivering lines correctly, moving accurately, and maintaining a particular role while on stage. 326 SpringBoard English Textual Power Level 1

21 ACTIVITY Forced Changes 5.6 SUGGESTED LEARNING STRATEGIES: Close Reading, Marking the Text, Oral Reading, Predicting, Summarizing/Paraphrasing, Deleting As you read the story, underline the evidence that illustrates the main character s problem. After you have finished reading the story, examine the passages you marked regarding Sushil s conflict. 1. What is Sushil s problem? 2. What are the consequences in other people s lives because he does not deal with his problem? 3. How does Sushil change? 4. Some may say Sushil does not change; others may say he does. What do you think, and what is your evidence? 5. Brainstorm some transitions that you could use to show cause and effect in your writing. 6. Summarize the story. Unit 5 Changing Times and Places 327

22 ACTIVITY 5.6 Forced Changes My Notes Fable ABOUT THE AUTHOR Aaron Shepard has written numerous award-winning children s books and stories. He specializes in folk tales and other forms of traditional literature. Mr. Shepard wrote his first story in 4 th grade. From there, he went on to write multiple poems, essays, and stories. During his journey as a writer, he has also worked as a musician, a bamboo flute maker, a printer, a produce clerk, and an advertising salesman. He has performed professionally in reader s theatre and currently is a full-time writer who expresses this thought about writing: With researching, writing, and revising, a story can take me years to finish or you might say that it s never finished at all. LITERARY TERMS A fable is a fictional story meant to teach a lesson. Often, but not always, a fable uses animals as characters. A Buddhist Fable 328 SpringBoard English Textual Power Level 1 Told by Aaron Shepard How to Say the Names: Sushil SOO-shil Nirmala NEER-ma-la Sakka SOK-a Sushil was a miser. Though his treasure house was full, he was too stingy to give away even the smallest coin. And since food cost money, he ate almost nothing, and starved his family and servants besides. One morning, as Sushil took his daily walk through town, he saw a young boy eating a sweet rice dumpling. Sushil s mouth watered as he made his way home. If only I could ask my wife to make me a sweet dumpling, he said to himself. But if I wanted one, so would my wife. And if my wife wanted one, so would the children. And if the children wanted one, so would the servants. So I had better just keep quiet. When Sushil arrived home, he said nothing about a dumpling. But he wanted one so badly, he felt weak. His legs shook, and he had to go to bed. His wife, Nirmala, came to him. She asked, What is wrong, my husband? Sushil lay groaning and clenched his teeth. Is there something you want? said Nirmala. Sushil s face grew red, then purple. At last he squeaked, I would

23 ACTIVITY 5.6 like a sweet rice dumpling. That is no problem, said Nirmala. We are wealthy enough. Why, I will make sweet dumplings for the whole town! Sushil gasped in horror. You will make a pauper of me! Well then, said Nirmala, I will make dumplings for our family and servants. Why would the servants need any? said Sushil. Then I will make them for us and the children. I am sure the children can do without. Then I will make one for you and one for me. Why would you want one? said Sushil. Nirmala sighed and went out, and returned after a while with a single sweet dumpling. Then she looked on as Sushil, moaning with delight, devoured every crumb. Now, it happened that all this was seen by Sakka, the King of Heaven, who was sitting on his marble throne in his thousand-milehigh palace. Not in seventy-seven millennia, he declared, have I ever seen such a miser. I will teach this fellow not to be so stingy. So the god waited till the next day, when Sushil left on his morning walk. Then he made himself look just like Sushil and came down to earth. Sakka walked into Sushil s house as if he were Sushil himself. In Sushil s own voice he told a servant, Run through the town and invite everyone you see. Today Sushil will share his wealth! When Nirmala heard these words, she cried, Husband, can this be true? Heaven be praised for your change of heart! Then she helped him open the treasure house. Soon the people of the town arrived. Take what you will! said the pretend Sushil. And if anyone who looks like me tries to stop you, drive away the scoundrel! Thanks to Lord Sushil! cried the townspeople. The most generous man alive! They rushed into the treasure house and loaded themselves with gold, silver, diamonds, and pearls. Just then, the real Sushil came home. When he saw his treasure being carried out the gate, he screamed, Robbers! Thieves! Put that back! How dare you! But the townspeople said, This must be the one that Lord Sushil warned us about. And they chased Sushil halfway across town. Sushil rushed on to the Rajah s court. Your Majesty, he declared, the people of the town are taking all I own! But your own servant invited them! said the Rajah. I heard him myself. Did you not give the order? Never! said Sushil. If the order was given, I beg you to bring the one who gave it! My Notes Unit 5 Changing Times and Places 329

24 ACTIVITY 5.6 Forced Changes My Notes So the Rajah sent a messenger. Soon came Sakka, still pretending to be Sushil, along with Nirmala and the children. The children stared wide-eyed at the two Sushils, and Nirmala nearly fainted. Impostor! screamed Sushil. Deceiver! screamed Sakka. I cannot tell the difference between you, said the bewildered Rajah. He turned to Nirmala. Can you say which is the true Sushil? Nirmala looked at both men. Your Majesty, she said, may I ask them a question? Certainly, said the Rajah. Nirmala turned to Sakka. Is it better to be generous to yourself, to your family, to your servants, or to your neighbors? It is best to be generous to all! answered Sakka. When you are generous, others also grow generous, and everyone is wealthier. Then Nirmala turned to Sushil. Is it better to be generous to yourself, to your family, to your servants, or to your neighbors? To none! shrieked Sushil. It is a waste of wealth that can never be regained! Nirmala took a deep breath, gathered the children, then drew close to Sakka. She said, This is the true Sushil, Your Majesty. But, Nirmala! cried Sushil. My wife! My children! At that, the god stepped forward, and with a blinding flash of light changed back to his own shape. Your Majesty, I am not Sushil but Sakka. I came down from Heaven to teach this man a lesson. He turned to the trembling and downcast Sushil. Do you see? You are so stingy, even your wife and children deny you. Sushil moaned. There is but one hope for you, said Sakka. Will you stop being such a miser? Well, said Sushil, maybe I could be a little more generous. A little more? demanded Sakka. Well, maybe a little more than a little more, said Sushil. You had better be a lot more generous, said Sakka. Or I ll be back! And with another flash of light, he vanished. Well! said the Rajah to Sushil. It seems you indeed have been taught a good lesson! I suppose so, Your Majesty, said Sushil. He turned shyly to Nirmala. Wife? he said, holding out his hand. Husband! she said, taking it. Oh, husband, let us celebrate! I have an idea. Let us make sweet rice dumplings for the entire town! Sushil gasped in horror. His legs shook. He groaned and clenched his teeth. His face grew red, then purple. Then he squeaked All right! 330 SpringBoard English Textual Power Level 1

25 ACTIVITY Tone Changes 5.7 SUGGESTED LEARNING STRATEGIES: Oral Interpretation, Role Playing, Word Map In preparation for Activity 5.8, which will be a performance of The Millionaire Miser, you will work on understanding tone. Good readers hear tone in their minds as they read. Think about your tone of voice. Your voice often shows the emotions you feel. Think about the tone of voice of someone who is angry, happy, sad, or in a hurry. 1. Divide into groups of three or four. Your teacher will give each group a copy of the sentences below. Cut the paper along the dotted lines. Each person in the group chooses a slip of paper. Without showing the slip of paper to others in the group, each person must say the sentence on the slip in a way that communicates the tone. Members of the group will guess the tone. ACADEMIC VOCABULARY Tone is a speaker s or writer s attitude. I am going home now. I am going to eat something. I need a break. Tone: angry Tone: urgent Tone: playful I am going home now. I am going to eat something. I need a break. Tone: sad Tone: happy Tone: angry I am going home now. Tone: excited I am going home now. Tone: indifferent I am going to eat something. Tone: depressed I am going to eat something. Tone: nervous I need a break. Tone: sarcastic I need a break. Tone: joyful I am going home now. I am going to eat something. I need a break. Tone: bored Tone: old and shaky Tone: bored Unit 5 Changing Times and Places 331

26 ACTIVITY 5.7 Tone Changes 2. Make up a sentence of your own that communicates a specific tone through descriptive words. Share your sentence with your group to see if they can infer the tone. Example: Sushil s face grew red, then purple. At last he squeaked, I would like a sweet rice dumpling. Which words provided clues to the tone in the example above? Speak the sentence so that the appropriate tone is evident. Your sentence: Notice how the author creates tone or speaker s attitude. Remember the importance of tone, and consider how to use it when you prepare for your part in The Millionaire Miser. As you prepare to read a character s words, focus on the author s words that provide clues to the correct tone of voice. In addition, be aware of the italicized words in the text, which are also clues to the tone that must be used when speaking them. Remember to practice good speaking and listening skills. Speak clearly. Look at your audience. Listen carefully, and avoid interrupting the speaker. Use verbal and nonverbal cues to monitor understanding. 332 SpringBoard English Textual Power Level 1

27 Reader s Theatre ACTIVITY 5.8 SUGGESTED LEARNING STRATEGIES: Marking the Text, Oral Interpretation, Oral Reading, Role Playing, Word Map The Millionaire Miser can also be read as a Reader s Theatre. That means that the story has been reformatted into a type of play. Your teacher will assign you one of the parts. Prior to Performance 1. Once you have been assigned a character, read through the play, particularly your lines, so that you understand your character. You will read your lines with the appropriate tone or attitude for the particular character. For example, if you are Sushil, consider what motivates him to be such a miser and what tone of voice he would use in each of his conversations. Would he act angry, sad, or happy? As you look over your part, mark the text by making notes in the margin about the tone of voice you want to use. Underline the words to emphasize as you speak. 2. Do not memorize your lines, but know the part well enough so that when you read your part it naturally follows what has occurred previously in the text. 3. Reader s Theatre is different from what we usually consider acting because you will not move around on a stage. Your back will be to the audience until it is your time to begin the performance. Then you will turn, face the audience, read your lines, and indicate the end of the performance in the way that your teacher indicates. 4. Work with your group to practice the presentation format and tone of delivery. Rehearse several times with your group in preparation for your performance. During Performance: Audience Evaluation/Response 5. As you are watching other groups perform, take notes on who was successful at conveying a particular tone, and why. What made that person believable as the character? What about the way the reader delivered his or her lines was effective? After Performance Respond to the following question in the My Notes section. 6. You have seen how other students interpreted your character. If you were to interpret this character again, what would you do differently? 7. How did Reader s Theatre affect your understanding of the story of the millionaire miser? LITERARY TERMS An interpretation is the writer s or artist s representation of the meaning of a story or idea. An oral interpretation is reading aloud a literary text with meaning and emotional expression. ACADEMIC VOCABULARY A presentation is an act of performance and may take forms such as a speech, a dramatic reading, or a stage production. Unit 5 Changing Times and Places 333

28 ACTIVITY 5.8 Reader s Theatre My Notes Drama A Buddhist Fable Roles: Narrator 1 Narrator 2 Narrator 3 Narrator 4 Sushil Boy Nirmala Sakka Man Woman Rajah (Servant, Other Townspeople, Children) NARRATOR 1: Sushil was a miser. Though his treasure house was full, he was too stingy to give away even the smallest coin. NARRATOR 4: And since food cost money, he ate almost nothing, and starved his family and servants besides. NARRATOR 2: One morning, as Sushil took his daily walk through town, he saw a boy eating a sweet rice dumpling. BOY: (makes loud sounds of enjoyment as he eats) How to Say the Names: Sushil SOO-shil Nirmala NEER-ma-la Sakka SOK-a NARRATOR 3: Sushil s mouth watered as he made his way home. He said to himself, SUSHIL: If only I could ask my wife to make me a sweet dumpling. But if I wanted one, so would my wife. And if my wife wanted one, so would the children. And if the children wanted one, so would the servants. So I had better just keep quiet. 334 SpringBoard English Textual Power Level 1

29 ACTIVITY 5.8 NARRATOR 1: When Sushil arrived home, he said nothing about a dumpling. But he wanted one so badly, he felt weak. His legs shook, and he had to go to bed. My Notes NARRATOR 4: His wife, Nirmala, came to him. She asked, NIRMALA: What is wrong, my husband? NARRATOR 2: Sushil lay groaning and clenched his teeth. NIRMALA: Is there something you want? NARRATOR 3: Sushil s face grew red, then purple. At last he squeaked, SUSHIL: I would like a sweet rice dumpling. NIRMALA: That is no problem. We are wealthy enough. Why, I will make sweet dumplings for the whole town! SUSHIL: (gasps) NARRATOR 1: Sushil gasped in horror. SUSHIL: You will make a pauper of me! NIRMALA: Well then, I will make dumplings for our family and servants. SUSHIL: Why would the servants need any? NIRMALA: Then I will make them for us and the children. SUSHIL: I am sure the children can do without. NIRMALA: Then I will make one for you and one for me. SUSHIL: Why would you want one? NARRATOR 4: Nirmala sighed and went out. NARRATOR 2: After a while, she returned with a single sweet dumpling. NARRATOR 3: Then she looked on as Sushil, moaning with delight, devoured every crumb. SUSHIL: (makes loud sounds of enjoyment as he eats) *** NARRATOR 1: Now, it happened that all this was seen by Sakka, the King of Heaven, who was sitting on his marble throne in his thousandmile-high palace. SAKKA: (appalled, looking down to earth) Not in seventy-seven millennia have I ever seen such a miser! I will teach this fellow not to be so stingy. NARRATOR 4: So the god waited till the next day, when Sushil left on Unit 5 Changing Times and Places 335

30 ACTIVITY 5.8 Reader s Theatre My Notes his morning walk. Then he made himself look just like Sushil and came down to earth. NARRATOR 2: Sakka walked into Sushil s house as if he were Sushil himself. NARRATOR 3: In Sushil s own voice he told a servant, SAKKA: (imitating Sushil) Run through the town and invite everyone you see. Today Sushil will share his wealth! SERVANT: (excitedly bows and runs off ) NARRATOR 1: When Nirmala heard these words, she cried, NIRMALA: Husband, can this be true? Heaven be praised for your change of heart! NARRATOR 4: Then she helped him open the treasure house. TOWNSPEOPLE (including WOMAN, MAN, BOY): (enter) NARRATOR 2: Soon the people of the town arrived. The pretend Sushil told them, SAKKA: Take what you will! And if anyone who looks like me tries to stop you, drive away the scoundrel! MAN: Thanks to Lord Sushil! WOMAN: The most generous man alive! NARRATOR 3: They rushed into the treasure house and loaded themselves with gold, silver, diamonds, and pearls. NARRATOR 1: Just then, the real Sushil came home. NARRATOR 4: When he saw his treasure being carried out the gate, he screamed, SUSHIL: Robbers! Thieves! Put that back! How dare you! NARRATOR 2: But the townspeople said, BOY: This must be the one that Lord Sushil warned us about! NARRATOR 3: And they chased Sushil halfway across town. WOMAN: (chasing Sushil) Be off with you! MAN: (chasing Sushil) And don t show your face again! NARRATOR 1: The crowd turned back. Sushil rushed on to the court of the Rajah. SUSHIL: (arriving out of breath, speaking frantically) Your Majesty, the 336 SpringBoard English Textual Power Level 1

31 ACTIVITY 5.8 people of the town are taking all I own! RAJAH: But your own servant invited them! NARRATOR 4:... said the Rajah. RAJAH: I heard him myself. Did you not give the order? SUSHIL: Never! If the order was given, I beg you to bring the one who gave it! NARRATOR 2: So the Rajah sent a messenger. NARRATOR 3: Soon came Sakka, still pretending to be Sushil, along with Nirmala and the children. The children stared wide-eyed at the two Sushils, and Nirmala nearly fainted. SUSHIL: Impostor! SAKKA: Deceiver! RAJAH: (bewildered, looking from one to the other) I cannot tell the difference between you! NARRATOR 1:... said the Rajah. He turned to Nirmala. RAJAH: Can you say which is the true Sushil? NARRATOR 4: Nirmala looked at both men. NIRMALA: Your Majesty, may I ask them a question? RAJAH: Certainly. NARRATOR 2: Nirmala turned to Sakka. NIRMALA: Is it better to be generous to yourself, to your family, to your servants, or to your neighbors? SAKKA: It is best to be generous to all! When you are generous, others also grow generous, and everyone is wealthier. NARRATOR 3: Then Nirmala turned to Sushil. NIRMALA: Is it better to be generous to yourself, to your family, to your servants, or to your neighbors? SUSHIL: To none! It is a waste of wealth that can never be regained! NARRATOR 1: Nirmala took a deep breath. She gathered the children, then drew close to Sakka. NIRMALA: This is the true Sushil, Your Majesty. SUSHIL: But, Nirmala! My wife! My children! My Notes Unit 5 Changing Times and Places 337

32 ACTIVITY 5.8 Reader s Theatre My Notes NARRATOR 4: At that, the god stepped forward. With a blinding flash of light, he changed back to his own shape. SAKKA: Your Majesty, I am not Sushil but Sakka. I came down from Heaven to teach this man a lesson! NARRATOR 2: He turned to the trembling and downcast Sushil. SAKKA: Do you see? You are so stingy, even your wife and children deny you! SUSHIL: (moans) SAKKA: There is but one hope for you. Will you stop being such a miser? SUSHIL: (hesitantly) Well... maybe I could be a little more generous. SAKKA: (sternly) A little more? SUSHIL: Well... maybe a little more than a little more. SAKKA: You had better be a lot more generous. Or I ll be back! NARRATOR 3: And with another flash of light, he vanished. RAJAH: (to Sushil) Well! NARRATOR 1:... said the Rajah to Sushil. RAJAH: It seems you indeed have been taught a good lesson! SUSHIL: I suppose so, Your Majesty. NARRATOR 4: He turned shyly to Nirmala and held out his hand. SUSHIL: (questioningly) Wife? NARRATOR 2: Nirmala took it. NIRMALA: (smiling at him) Husband! Oh, Sushil, let us celebrate! I have an idea. Let us make sweet rice dumplings for the entire town! SUSHIL: (gasps) NARRATOR 3: Sushil gasped in horror. NARRATOR 1: His legs shook. NARRATOR 4: He groaned and clenched his teeth. NARRATOR 2: His face grew red, then purple. NARRATOR 3: Then he squeaked, SUSHIL: All right! 338 SpringBoard English Textual Power Level 1

33 ACTIVITY Learning Lear s Limericks 5.9 SUGGESTED LEARNING STRATEGIES: Marking the Text, Oral Interpretation, Oral Reading, Rereading L i m e r i c k P o e m s My Notes ABOUT THE AUTHOR Although Edward Lear ( ) was an artist and illustrator, he is remembered mainly for his limericks and nonsense poetry, especially The Owl and the Pussycat. He began writing his nonsense verses as he was trying to become established as an artist. Eventually he used his artistic talent to illustrate his own humorous works. from by Edward Lear 1 There was an Old Man with a beard, Who said, It is just as I feared! Two Owls and a Hen, Four Larks and a Wren, Have all built their nests in my beard! 2 There was an Old Man with a nose, Who said, If you choose to suppose That my nose is too long, You are certainly wrong! That remarkable Man with a nose. LITERARY TERMS A limerick is a light, humorous, nonsensical verse of few lines, usually with a rhyme scheme of a-a-b-b-a. Unit 5 Changing Times and Places 339

34 ACTIVITY 5.9 Learning Lear s Limericks LITERARY TERMS In poetry, rhythm refers to the pattern or flow of sound created by the arrangement of stressed and unstressed syllables. Many types of poems such as limericks have a specific rhythm. My Notes 3 There was an Old Man on a hill, Who seldom, if ever, stood still; He ran up and down, In his Grandmother s gown, Which adorned that Old Man on a hill. 4 There was a Young Lady whose chin Resembled the point of a pin; So she had it made sharp, And purchased a harp, And played several tunes with her chin. 5 There was an Old Man of Kilkenny, Who never had more than a penny; He spent all that money In onions and honey, That wayward Old Man of Kilkenny. 6 There was an Old Man in a boat, Who said, I m afloat! I m afloat! When they said, No! you ain t! He was ready to faint, That unhappy Old Man in a boat. 7 There was an old man from Nantucket, Who kept all his cash in a bucket. His daughter named Nan Ran away with a man. And as for the bucket, Nantucket. 340 SpringBoard English Textual Power Level 1

35 Poetry Presentation ACTIVITY 5.10 SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Oral Interpretation 1. Look through the poetry books your teacher has provided. Select three poems, and complete the graphic organizer to plan how you would recite them. Consider the following important elements of poetry recitation: Your volume: Should the poem be read loudly, softly, or with a change in volume from loud to soft, or from soft to loud at certain points? How would changing volume add to your performance? Your pitch: When could you speak in a higher or lower voice? Should your pitch change at all? Would you speak in the same high, medium, or low pitch for the whole poem? What effect would changing the pitch have on your poem? Your talking speed, or rate: Would this poem be more interesting if it were recited slowly? Quickly? Would you speak at the same speed for the whole poem? How could speaking more slowly or quickly at different places add interest to the poem? Poem Title Volume: Ideas for Performing This Poem Effectively Pitch: Ideas for Performing This Poem Effectively Rate of Speech: How can it make the poem interesting? 2. Now, rehearse and perform one of the poems for your classmates, alone or with a partner or small group. 3. Writing Prompt: Reflect on your performance. Why did you select the poem? How did your ideas on volume, pitch, and rate actually affect your performance? Unit 5 Changing Times and Places 341

36 ACTIVITY 5.11 Creating a Dramatic Script from a Poem SUGGESTED LEARNING STRATEGIES: Marking the Text, Role Playing, Word Map My Notes S t u d e n t Poem by Chip Westington (student writer) Philip was at his desk when he took off his shoes He sat back with a sigh and began to snooze The lesson was boring and Philip was tired But the teacher, still looking wired 5 Ricky saw that his friend was quietly snoring He had to do something; the class was so boring He stretched out his leg and moved Philip s left shoe So softly and deftly Philip had not a clue LITERARY TERMS A quatrain in poetry is a four-line stanza (which is a group of lines) usually rhyming a-a-b-b or a-b-a-b or a-b-c-b Charles looked on as the shoe passed to him So he grabbed up the shoe and passed it to Jim Jim snuck the sneaker to Jeff in accord Who placed it directly above the chalkboard Charles, having fun, with excitement renewed Called out to Ricky, Get the other one, dude! Ricky, so smoothly, extended his leg And kicked it so gently to his sister s friend, Meg Meg looked at the shoe as she played with her hair She was confused, wond ring why it was there Pass it to Lona! said Meg s best friend, Jill To Lona it was sent, and then to the sill The teacher looked on and watched with a smile And though Philip had slept at his desk all the while He awoke from cold feet, eyes still cloudy with snooze Looked round with a chuckle and said, Where are my shoes? 342 SpringBoard English Textual Power Level 1

37 ACTIVITY 5.11 After discussing Footwear Follies, transform the poem into a dramatic script. A dramatic script shows who is talking and what actions the characters in the scene are performing. Follow the model of the first two stanzas below. Philip: Ricky: Philip was at his desk when he took off his shoes He sat back with a sigh and began to snooze The lesson was so boring and Philip was tired But the teacher, still looking wired (As he says this, Philip slips off his shoes, leans back in his seat at his desk, sighs, and falls asleep while a teacher is in front busily pantomiming a lesson to the group, ignoring Philip.) Ricky saw that his friend was quietly snoring (Ricky looks over to the next row of desks to Philip, who is snoring.) He had to do something, the class was so boring (Ricky looks around to make some mischief because he is bored. He then yawns, but the teacher continues his/her non-stop teaching.) He stretched out his leg and moved Philip s left shoe So softly and deftly, Philip had not a clue (As the narrator says this, Philip continues to sleep peacefully, while Ricky moves Philip s left shoe toward his own chair.) 1. After transforming the text, discuss as a group the following question: What props and costumes might enhance the performance of this script, and why? ACADEMIC VOCABULARY A drama is also called a play. It is a genre of literature that is intended to be performed before an audience. WORD CONNECTIONS Script comes from the Latin word scribere, meaning to write. The roots -script- and -scrib-, both meaning write, appear in many English words, including scribble, scripture, describe, manuscript, postscript. Pantomime contains the Greek roots -mime-, meaning mimic, and pan, meaning all or entirely. These roots appear in the English words panacea, pandemic, mimic, and mimetic. GRAMMAR & USAGE No punctuation is required when a subordinate clause that acts as an adverb follows an independent clause. Example: Philip was at his desk when he took off his shoes. Unit 5 Changing Times and Places 343

38 ACTIVITY 5.12 Building Vocabulary SUGGESTED LEARNING STRATEGIES: Predicting, Think Aloud Examine the underlined words in each sentence, and use context clues to predict the meaning of the words. Use your teacher s example as a guide. 1. If excuses were shillings, we d be rich. Rip Van Winkle was paid eight shillings a day for his hard labor. Predicted part of speech: Predicted definition: Dictionary definition: 2. At left there is an inn with a sign, KING GEORGE TAVERN, and a picture of King George III. The men gathered after a long hard day in the tavern to drink and talk. Predicted part of speech: Predicted definition: Dictionary definition: 3. Your father is too busy spinning yarns to split wood for our fire. The old yarn about Hendrik Hudson s crew turns out to be true. Predicted part of speech: Predicted definition: Dictionary definition: 344 SpringBoard English Textual Power Level 1

39 ACTIVITY Rip, carrying his gun, enters left, dragging his feet wearily. He sinks down on the stump. After three days without food or rest, they marched wearily. Predicted part of speech: Predicted definition: Dictionary definition: 5. Rip enters with a troop of children who laugh and jeer at him. Though others jeered at him, he held his head up proudly and refused to be angry or ashamed. Predicted part of speech: Predicted definition: Dictionary definition: 6. Incredulously, the men in the tavern question Rip Van Winkle s story. The boys stared at him incredulously as he tried to get them to believe him. Predicted part of speech: Predicted definition: Dictionary definition: Unit 5 Changing Times and Places 345

40 ACTIVITY 5.13 Guided Reading of Rip Van Winkle SUGGESTED LEARNING STRATEGIES: KWHL Chart, Graphic Organizer, Marking the Text, Predicting, Oral Reading, Quickwrite, Think-Pair-Share, Sketching, Word Map, Previewing My Notes Drama ABOUT THE AUTHOR Washington Irving ( ) was a popular early- American writer. He wrote biographies and histories, but he is most remembered for two stories: The Legend of Sleepy Hollow, with the character of the Headless Horseman, and Rip Van Winkle. by Washington Irving Dramatized by Adele Thane 346 SpringBoard English Textual Power Level 1 CHARACTERS Rip Van Winkle Dame Van Winkle, his wife Judy, his daughter Luke Gardenier } Katchen Judy s playmates Meenie, a girl Jacob Nicholas Vedder, landlord of the King George Tavern Derrick Van Bummel, the schoolmaster Peter Vanderdonk } Men of the village Brom Dutcher Offstage Voice Hendrik Hudson Sailors, Hudson s crew Orator Jonathan Doolittle, proprietor of the Union Hotel Judith Gardenier, Judy grown up Little Rip, her son Townspeople Children

41 ACTIVITY 5.13 SCENE 1 Time: Early autumn, a few years before the Revolutionary War. Setting: A village in the Catskill Mountains. 1 At left, there is an inn with a sign, KING GEORGE TAVERN, and a picture of King George III. 2 A British Union Jack 3 hangs on the flagpole. At Rise: Nicholas Vedder, Derrick Van Bummel, Brom Dutcher, and Peter Vanderdonk are seated outside the tavern. Vedder is sprawled back in his chair. Dutcher and Vanderdonk are at the table, playing a game of checkers. Van Bummel is reading aloud from a newspaper. From time to time, a rumble of thunder can be heard in the distance. Van Bummel (reading).... and it has been learned that Massachusetts favors a Stamp Act Congress to be held in New York to protest English taxation in the colonies. Dutcher (looking up from his game). Good! It s high time we did something about this English taxation. Vanderdonk. Taxes and more taxes! The English are a pack of rascals with their hands in our pockets. Van Bummel. There s even a revenue stamp on our newspapers. One of these days the people here in the American colonies will revolt, you mark my words. Vedder (pointing off right as a merry whistle is heard). Well, here comes one man who is not troubled by these problems Rip Van Winkle. (Rip Van Winkle enters, a wooden bucket in one hand, his gun in the other. He props his gun against the tree trunk, then crosses to the group of men.) Rip. Good afternoon, Nick Vedder Brom Peter, (to Van Bummel) Good afternoon, Mr. Schoolmaster. (They return his greeting. There is a loud rumble of thunder, and Rip cocks his head.) Just listen to that, will you! Dutcher. We re probably in for a storm after this heat all day. Vedder. Sit down, Rip. Derrick is reading us the news. Vanderdonk. How about a game of checkers, Rip? Rip (hesitating). I don t know. Dame Van Winkle sent me for a Chunk 1 My Notes 1 Catskill Mountains: a forested mountain range in southeastern New York 2 King George III: king of England from 1760 to 1820, during whose rule the American Revolution took place 3 Union Jack: a name for the British flag Unit 5 Changing Times and Places 347

42 ACTIVITY 5.13 Guided Reading of Rip Van Winkle My Notes Chunk 2 bucket of water, but maybe one game. (He sets down the bucket and draws a stool up to the table as Vanderdonk rises.) Dutcher. Your move, Rip. (Suddenly Dame Van Winkle s voice is heard from off right.) Dame Van Winkle (calling from off right). Rip! Rip! Rip Van Winkle! Rip. Oh, my galligaskins! 4 It s my wife! (Before he can get to his feet, Dame Van Winkle enters with a broom. She looks at men, then crosses directly to Rip.) Dame Van Winkle. So this is how you draw water from the well! Sitting around with a lot of lazy good-for-nothing loafers. (She tries to hit Rip with the broom.) Pick up that bucket, you dawdling Dutchman, and fill it with water! Rip. (snatching up the bucket and dodging out of the way). Hey there, Dame, I m not an old rug to be beaten with a broomstick. Dame Van Winkle. Well, you might better be. An old rug is more use than you. At least it would keep our feet warm in winter, which is more than you can do. Little you care that your family is starving and the cow is gone. Rip. The cow is gone? Dame Van Winkle. Aye, the cow is gone, and the cabbage trampled down. When are you going to mend the fence? Rip. It rained yesterday Dame Van Winkle. If excuses were shillings, 5 we d be rich! Rip. I ll mend the fence tomorrow. Dame Van Winkle. Tomorrow, tomorrow! All your work is going to be done tomorrow! (Rip goes to the well as she starts off right, still talking.) You show enough energy when there s a husking bee 6 or an errand to run for the neighbors, but here at home... (She exits. Rip lowers his bucket into the well. The other men rise to go into the tavern.) Vedder. Poor Rip! His wife has the scoldingest tongue in the Hudson Valley. 348 SpringBoard English Textual Power Level 1 4 galligaskins: loose trousers; here the word is used as a mild exclamation. 5 shillings: coins of England and colonial America. 6 husking bee: A festive gathering of neighbors to remove the leaf-like coverings from harvested ears of corn

43 ACTIVITY 5.13 Van Bummel. A smart tongue is the only tool that grows keener with use. Dutcher. What would you do, Derrick, if you had a wife like Van Winkle s? Van Bummel. War could be no worse. I would enlist. (They all laugh and exit through the door of the tavern. Rip turns to leave, then stops and smiles, as children s voices are heard off left. Judy, Luke, Katchen, Meenie, holding a kite, and Jacob, carrying a bow, run in, left, and shout with delight when they see Rip.) Children (ad lib). There he is! There s Rip Van Winkle! (They surround him, chattering excitedly.) Judy. Hello, Father. I ve brought some of my friends. Rip. Glad to see you, children. Jacob (holding out bow). Oh, Rip, there s something wrong with my bow. Every time I go to shoot, the cord slips. (Rip takes the bow, draws his knife from his pocket, and cuts the notch deeper for the cord.) Rip. There, Jacob, try that, and see if it doesn t work. Jacob (pretending to shoot). Yes, it s all right now. Meenie (holding out kite). My kite won t stay up, Rip. Rip (taking off part of the tail). Now it will, Meenie and this breeze is just right for it. (He hands kite to Meenie.) Katchen. My mother wants you to plug up her rain barrel so she ll be able to wash next week. Rip. Tell her I ll fix it tonight, Katchen. Luke. Rip, will you see what s the matter with my whistle? I made it just the way you showed me, but it isn t any good. (He hands Rip a whistle.) Rip (examining it). You haven t whittled it right there, Luke. Here, I ll fix it for you. (He sits on a bench under the tree and begins to whittle.) Judy. Tell us a story, Father! Luke. Yes, you tell better stories than anybody in the Catskills. (The children all gather round Rip, sitting on the ground.) Rip. What shall it be about? Jacob. Indians! Katchen. I like witches and goblins best. (A long roll of thunder is heard.) Judy. Oh, Father, hear that! Hear the thunder! My Notes Unit 5 Changing Times and Places 349

44 ACTIVITY 5.13 Guided Reading of Rip Van Winkle My Notes Chunk 3 Rip. Why, don t you know what that is, Judy? That s Hendrick Hudson and his famous crew playing ninepins 7 up in the mountains. (More thunder is heard.) Meenie. Oh, what a noise they make! Rip. Yes, they are jolly fellows. They sail the wide sea over in their ship, the Half-Moon, then every twenty years they come back to the Catskills. Jacob. What do they do that for? Rip. Oh, old Hendrik Hudson likes to revisit the country he discovered and keep a watchful eye over his river, the Hudson. Jacob. I wish I could see Hendrik Hudson and his crew. Rip. Peter Vanderdonk says his father saw them once in their funny breeches playing at ninepins up in the hills. (A loud peal of thunder is heard.) Listen to their balls rolling! That must be Hendrik Hudson himself, the Flying Dutchman! (Dame Van Winkle enters with broom as Rip is speaking.) Dame Van Winkle. So! Here you are, telling stories without a word of truth in em! Oh, I could tell a story or two myself about a shiftless husband who does nothing but whittle and whistle. Whittle and whistle! What a job for a grown man! (She snatches the whistle from Rip.) Luke (pleadingly). It s my whistle! Please don t break it, Dame Van Winkle. Dame Van Winkle. Take it and begone! (She gives Luke the whistle, and he runs off.) Judy, you go and ask Dame Vedder for an armful of wood. Your father is too busy spinning yarns to split wood for our fire. (Judy goes off behind the tavern.) As for the rest of you, go home if you have any homes, and don t keep hanging around here like stray dogs looking for bones. (She sweeps the children off the stage with her broom.) Get along! Begone, all of you! Go home now! (With arms akimbo, 8 she faces Rip.) Well, what do you have to say for yourself? (Rip shrugs, shakes his head and says nothing.) Nothing as usual. (Rip goes to the tree for his gun.) What are you getting your gun for? Going off to the mountains, no doubt. Anything to keep you out of the house. Rip (Good-naturedly). Well, wife, you have often told me my side of the house is the outside. Where s my dog? Where s Wolf? 7 ninepins: A bowling game in which nine pins are used. 8 With arms akimbo: with hands on hips and elbows bent outward. 350 SpringBoard English Textual Power Level 1

45 ACTIVITY 5.13 Dame Van Winkle. Wolf is tied up in the cellar. Rip. You didn t tie up Wolf? Dame Van Winkle. I certainly did. That dog tracked up my kitchen floor right after I d finished scrubbing it. Well, if you re going hunting, go, and don t come back until you bring us something for supper. And if you can t bring any supper, don t bring yourself. Judy (reentering from up left, her arms full of logs). But, Mother, it s going to rain. Dame Van Winkle (taking the wood). Pooh! Your father won t get as wet as we will in the house, with the roof leaking and the windows broken. You hurry home now. And bring that bucket of water your father managed to get this far. (Dame Van Winkle starts right, but Judy stays behind with Rip.) Rip (calling after his wife). Wife, turn Wolf loose when you get home. (Dame Van Winkle looks back at him angrily, tosses her head, and exits right.) Judy (starting to cry as she puts her hand in Rip s). Father, where will you go if it rains? Rip. I ll find a place. Don t cry, Judy. Remember your little song? Come, we ll sing it together. (They sing an appropriate folk song, such as Rosa, Will We Go Dancing? ) Judy (hugging Rip). Oh, Father, I hope you have wonderful luck. Then Mother won t be so cross. Rip. I don t blame her for being cross with me sometimes. I guess I don t do much work around here. But I m going to do better, Judy. I m going to do all the jobs your mother has been after me about. Dame Van Winkle (calling from off). Ju-dee! Ju-dee! Rip. There s your mother. I d better be off. Goodbye, Judy dear. (He walks off, whistling for his dog.) Come, Wolf! Come, boy! (A dog s bark is heard off left as Rip turns, waves to Judy, and exits.) Judy (waving). Goodbye, Father. (Luke enters from right and joins Judy as a loud crash of thunder is heard. Startled, Judy clings to Luke.) Oh, Luke, listen to that thunder! Luke. It s only Hendrick Hudson s men playing ninepins. Don t be scared, Judy. Judy. I m not that is, not very. Dame Van Winkle (calling from off). Judy! Ju-dee! My Notes Unit 5 Changing Times and Places 351

46 ACTIVITY 5.13 Guided Reading of Rip Van Winkle My Notes Luke. You d better go in or you ll catch it. Your mother is getting awfully free with her broomstick lately. Here, I ll carry your bucket for you. (He exits right with the bucket of water. Judy lingers behind to look off in the direction her father has taken as the thunder gets louder. Then humming softly to herself, she exits right.) Curtain Chunk 4 SCENE 2 Time: Later the same afternoon. Setting: A forest glade, high in the Catskill Mountains. There is a tree stump at right center and a large bush at far left. This scene may be played before the curtain. At Rise: Rip, carrying his gun, enters left, dragging his feet wearily. He sinks down on the stump. Rip. Whew! That was a climb! All the way up the mountain. How peaceful it is up here. No one to scold me, no one to wave a broomstick. Ah, me! (He gives a big sigh of contentment.) I wonder where Wolf is. Wolf! Here, boy! (He whistles, and a dog barks off left.) That s it, Wolf, sic em! I hope we get something this time. We can t go home until we do. (A loud crash of thunder is heard.) That thunder sounds much louder up here in the mountains than down in the valley. Maybe it s going to rain after all. Voice (calling from off, high-pitched, like a birdcall). Rip Van Winkle! (Rip looks around wonderingly.) Rip Van Winkle! Rip (rising). That s my name. Somebody is calling me. Voice (off ). Rip Van Winkle! Rip. Is it Dame Van Winkle? No she would never follow me up here. (Sound of a ship s bell is heard from off right.) What was that? (Bell rings again.) A ship s bell! But how can that be? A ship? Up here in the mountains? (He gazes off right, in astonishment.) It is a ship! Look at it! Sails all set a Dutch flag at the masthead. (Ship s bell is heard again, fainter.) There, it s gone. I must have imagined it. (First Sailor, with a keg on his back, enters from right and goes to center as Rip watches him in amazement.) By my galligaskins, what a funny little man! And how strangely he s dressed. Such old-fashioned clothes! (First Sailor stops at center. Rip goes to meet him.) Hello, old Dutchman. That keg looks heavy. Let me carry it for you. (He relieves First Sailor of the keg.) By golly, it is heavy! Why did you bring this keg all the way up here to the top of the mountain? And who are you, anyhow? 352 SpringBoard English Textual Power Level 1

47 ACTIVITY 5.13 First Sailor (gruffly). Don t ask questions. Set it down over there. (He points left to a spot beside the bush.) Rip (obeying cheerfully). Anything to oblige. (There is a commotion off right, and Hendrik Hudson and his crew enter, capering and shouting. They carry bowling balls and ninepins and a drum. Second Sailor has a burlap bag containing drinking mugs thrown over his shoulder. Rip turns to First Sailor.) Why, bless my soul! Here are a lot of little fellows just like yourself. (to Sailors as they gather at center) Who are you? Sailors (shouting). Hendrik Hudson and his merry crew! Hudson (stepping forward). Set up the ninepins, men, and we ll have a game. (Two or three Sailors set up the ninepins at extreme right. Hudson speaks to the First Sailor.) You there, fill up the flagons! 9 (Second Sailor opens sack and passes out the mugs. Hudson turns to Rip.) Now then, Rip Van Winkle, will you drink with us? Rip. Why, yes, thank you, Captain Hudson. I m quite thirsty after my long climb up the mountain. (The mugs are filled from keg.) Second Sailor (raising his mug in toast). To Hendrik Hudson, the Half-Moon, and its merry crew! All (as they raise their mugs). To Hendrik Hudson, the Half-Moon, and his merry crew! Rip (lifting his mug). Well, gentlemen, here s to your good health. May you live long and prosper. (Rip drinks and smacks his lips.) Ah! This is the best drink I ever tasted, but it makes me feel very sleepy. (Hudson and his men begin to bowl. As they roll the balls, the thunder increases. Rip yawns.) Ho, hum! I can t keep my eyes open. I guess I ll lie down (Carrying his gun, he goes behind bush at left and lies down out of sight. Note: Unseen by audience, Rip may go offstage for necessary costume changes and return in time for his awakening.) Hudson (to Sailors). Now, men, let s stop our game of ninepins and have a merry dance. Then we ll be off, to return again in twenty years. (One of the men beats the drum and Sailors dance. At the end of the dance, First Sailor points to bush where Rip is sleeping.) First Sailor. Look! Rip Van Winkle is asleep. Hudson. Peace be with the poor fellow. He needs to take a good long rest from his nagging wife. Sh-h-h-h! (He places his finger to his lips, and they all go about quietly gathering up the ninepins, balls, mugs, keg, etc.; then they tiptoe off the stage, their voices dying away to a whisper. My Notes 9 flagon: a container for liquids. Unit 5 Changing Times and Places 353

48 ACTIVITY 5.13 Guided Reading of Rip Van Winkle My Notes The lights may dim briefly to indicate the passage of twenty years, and recorded music may be played. When the lights come up, Rip is heard yawning behind the bush, then he stands up with great difficulty. He limps to center, carrying a rusty gun. His clothes are shabby, and he has a long white beard.) Rip (groaning). Ouch, my back! It s so stiff. And my legs just like pokers. My, my, but I m shaky! I feel as if I d grown to be an old man overnight. It must be rheumatism coming on. Oh, won t I have a blessed time with Dame Van Winkle if I m laid up with rheumatism. Well, I d better get along home to Dame Van Winkle. (He looks at the gun he is carrying.) Why, this rusty old thing is not my gun! Somebody has played a trick on me (suddenly recollecting). It s that Hendrik Hudson and his men! They ve stolen my gun and left this rusty one for me! (He puts his hand to his head.) Another scolding in store from the Dame. (He whistles.) Wolf! Here, Wolf! Have those scamps stolen my dog, too? He d never leave me. (He whistles again.) Come on, old boy! Maybe he found it too cold and went home to be warmed by his mistress s broomstick. Well, I will follow after and get my hot welcome, too. (He shoulders the rusty gun and totters off.) Curtain Chunk 5 SCENE 3 Time: Twenty years after Scene 1. Setting: Same as Scene 1, except that the sign above the tavern door reads UNION HOTEL PROPRIETOR, JONATHAN DOOLITTLE. A picture of George Washington has replaced that of King George III. Washington s name is printed below the picture, and an American flag flutters on a pole above it. At Rise: An Orator is standing on a bench, haranguing a crowd of Townspeople. Orator. Remember the Boston Tea Party! Remember Bunker Hill! Who saved this country? Who is the father of this country? Townspeople. George Washington! Washington for President! (They sing Yankee Doodle. ) Father and I went down to camp Along with Captain Good in, There we saw the men and boys As thick as hasty puddin. 354 SpringBoard English Textual Power Level 1

49 ACTIVITY 5.13 Yankee Doodle keep it up, Yankee Doodle Dandy, Mind the music and the step And with the girls be handy. (Rip enters with a troop of children, who laugh and jeer at him.) Children (ad lib). Look at him! He looks like a scarecrow! Where did you come from, Daddy Longlegs? Where did you get that gun? (Rip and Children go to center. First Child stands in front of Rip and crouches down, pulling on an imaginary beard.) First Child. Billy goat, billy goat! (Children begin stroking imaginary beards until Rip does the same. He is amazed to find he has a beard.) Rip. By my galligaskins, what s this? Second Child. It s a beard, old Father Time. Didn t you know you had a beard? Rip. But I didn t have one last night. (Children laugh and mock him.) Orator (to Rip). What do you mean by coming here at election time with a gun on your shoulder and a mob at your heels? Do you want to cause a riot? Rip. Oh, no, sir! I am a quiet man and a loyal subject of King George! Children and Townspeople (shouting ad lib). A spy! Away with him! Lock him up. Jonathan Doolittle (stepping forward from crowd). Hold on a minute! We must get to the bottom of this. (to Rip) Aren t you a supporter of Washington for President? Rip (puzzled). Eh? Supporter of Washington? (shaking his head, wholly bewildered) I don t understand. I mean no harm. I only want to find my friends. They were here at the tavern yesterday. Doolittle. Who are these friends of yours? Name them. Rip (hesitantly). Well, one is the landlord Doolittle. I am the landlord of this hotel Jonathan Doolittle. Rip. Why, what happened to Nicholas Vedder? First Woman (pushing her way out of the crowd). Nicholas Vedder? Why he s dead and gone these eighteen years. Rip. No, no, that s impossible! Where s Brom Dutcher? And the schoolmaster, Van Bummel? First Man. Brom Dutcher was killed in the war at Stony Point. My Notes Unit 5 Changing Times and Places 355

50 ACTIVITY 5.13 Guided Reading of Rip Van Winkle My Notes Second Man. And Van Bummel went off to the war, too. He became a great general, and now he s in Congress. Rip. War? What war? Second Man. Why, the war we fought against England, and won, of course. Rip. I don t understand. Am I dreaming? Congress? Generals? What s happened to me? Doolittle (impatiently). Now, we ve had enough of this nonsense. Who are you anyway? What is your name? Rip (utterly confused). I don t know. I mean, I was Rip Van Winkle yesterday, but today Doolittle. Don t try to make sport of us, my man! Rip. Oh, indeed, I m not, sir. I was myself last night, but I fell asleep on the mountain, and Hendrik Hudson and his crew changed my gun, and everything s changed, and I m changed, and I can t tell what my name is or who I am. (Townspeople exchange significant glances, nod knowingly, and tap their foreheads.) Second Man (shaking his head). Hendrik Hudson, he says! Poor chap. He s mad. Let s leave him alone. Rip (in great distress). Isn t there anybody here who knows who I am? Second Woman (soothingly). Why you re just yourself, old man. Who else do you think you could be? (Judith Gardenier enters from left, leading Little Rip by the hand. He hangs back, whimpering.) Judith. Hush, Rip! The old man won t hurt you. Rip (turning in surprise). Rip? Who said Rip? Judith. Why, I did. I was just telling my little boy not to be frightened. Rip (scanning her face). And what is your name, my good woman? Judith. My name is Judith, sir. Rip. Judith? Did you say Judith? (in great excitement) And your father what was his name? Judith. Ah, poor man, his name was Rip Van Winkle. It s twenty years since he went away from home. We never heard of him again. Rip (staggered). Twenty years! Judith. Yes, it must be all of that. His dog came back without him. I was a little girl then. 356 SpringBoard English Textual Power Level 1

51 ACTIVITY 5.13 Rip. And your mother where is she? Judith. My mother is dead, sir. Rip (sighing). Ah, but that woman had a tongue! Well, peace be with her soul. Did you love your father, Judith? Judith. With all my heart. All the children in the village loved him, too. Rip. Then look at me. Look closely, my dear Judy. I am your father. Judith (incredulously). You? My father? Rip. We used to sing a little song together, remember? (He sings a few lines from the folk song sung in Scene 1.) Judith (slowly). Yes, my father used to sing that song with me, but many people know it. Rip. Do you remember, Judy, that I told you the story of how Hendrik Hudson and his crew played ninepins in the mountains just before I went off hunting with Wolf? Judith (excitedly). Yes! And Wolf was our dog s name! Oh, Father, it s really you! Rip (taking her in his arms). Yes, my little Judy young Rip Van Winkle once, old Rip Van Winkle now. (Townspeople talk excitedly among themselves as they watch Rip and Judith.) Judith. Dearest Father, come home with me. Luke and I will take good care of you. Rip. Luke? Judith. Luke Gardenier, my old playmate. You used to make whistles for him and take him fishing. We were married when he came back from the war. Rip. Ah, the war. There is so much I have to catch up with. Judith. You will have plenty of time to do that and you must tell us what happened to you. Rip. Maybe you won t believe what happened to me, Judy it was all so strange. (Rip reaches out a hand to Little Rip, who shyly takes it, and they start off left, Judith following. A loud clap of thunder stops them. Rip turns front and shakes his fist toward the mountains.) Oh, no you don t Hendrik Hudson! You don t get me back up there again. (There is an answering roll of thunder that sounds like a deep rumble of laughter as the curtain falls.) The End My Notes Unit 5 Changing Times and Places 357

52 ACTIVITY 5.14 Poetry Performance SUGGESTED LEARNING STRATEGIES: Marking the Text, Oral Interpretation, Rereading, Word Map My Notes Poetry ABOUT THE AUTHOR Kristine O Connell George published her first book of poetry, The Great Frog Race, in She loves writing poetry for young people and loves visiting schools to do poetry workshops. She also teaches courses on writing poetry for children. by Kristine O Connell George Craig s poem was magic, much better than mine. Craig s turn to read his poem. I could tell he was worried he might stutter. He stood up slowly, his stutter like the heartache of a trapped bird, wings beating against the windows. LITERARY TERMS Free verse is a kind of poetry that does not follow any regular pattern, rhythm, or rhyme. Silently, Craig handed me his poem. I stood next to him, reading slowly until Craig found his voice. 358 SpringBoard English Textual Power Level 1

53 ACTIVITY 5.14 Poetry ABOUT THE AUTHOR Paul Fleischman, who writes historical fiction and drama as well as poetry, loves to make a connection between writing and music, as he does in Fireflies. He won the Newbery Medal in 1989 for Joyful Noise: Poems for Two Voices. My Notes A Poem for Two Voices by Paul Fleischman Light Night is our parchment fireflies flitting fireflies glimmering glowing Insect calligraphers practicing penmanship Six-legged scribblers of vanishing messages, Fine artists in flight adding dabs of light Signing the June nights as if they were paintings flickering fireflies fireflies. Light is the ink we use Night We re fireflies flickering flashing fireflies gleaming Insect calligraphers copying sentences Six-legged scribblers fleeting graffiti Fine artists in flight bright brush strokes Signing the June nights as if they were paintings We re fireflies flickering fireflies. Unit 5 Changing Times and Places 359