READING AND RESPONDING

Transcription

1 Jefferson Parish Grade 9 English I/Interval 7 READING AND RESPONDING Name Teacher Directions: In this test, you will read 2 passages. Then you will answer questions about what you have read. This test contains both multiple-choice questions and an extended response question. Answer these questions in the space provided in your answer document. A Midsummer Night s Dream - In these two excerpts from Shakespeare s play, three foolish men are planning to perform a play based on a well-known myth about two young lovers, Pyramus and Thisbe. Act I, Scene ii 1 [Enter Quince, Snug, Bottom, Flute, Snout, and 41 This was lofty! Now name the rest of the players. 2 Starveling.] 42 This is Ercles vein, a tyrant s vein. A lover is more 3 Quince: Is all our company here? 43 condoling. 4 Bottom: You were best to call them generally 1, man 44 Quince: Francis Flute, the bellows-mender. 5 by man, according to the scrip Flute: Here, Peter Quince. 6 Quince: Here is the scroll of every man s name, 46 Quince: Flute, you must take Thisby on you. 7 which is thought fit, through all Athens, to play in our 47 Flute: What is Thisby? A wandering knight? 8 interlude 3 before the Duke and the Duchess, on his 48 Quince: It is the lady that Pyramus must love. 9 wedding day at night. 49 Flute: Nay, faith, let me not play a woman. I have a 10 Bottom: First, good Peter Quince, say what the play 50 beard coming. 11 treats on. Then read the names of the actors, and so 12 grow to a point 4 51 Quince: That s all one. You shall play it in a mask, and you may speak as small as you will. Quince: Marry, our play is, The most lamentable 14 comedy, and most cruel death of Pyramus and Thisby. 53 Bottom: An 11 I may hide my face, let me play 15 Bottom: A very good piece of work, I assure you, and 54 Thisby too. I ll speak in a monstrous little voice. 16 a merry. Now, good Peter Quince, call forth your 55 Thisne, Thisne. Ah, Pyramus, my lover dear! 17 actors by the scroll. Masters, spread yourselves. 56 Thy Thisby dear, and lady dear! 18 Quince: Answer as I call you. Nick Bottom, the 57 Quince: No, no. You must play Pyramus, and 19 weaver. 58 Flute, you Thisby. 20 Bottom: Ready. Name what part I am for, and 59 Bottom: Well, proceed. 21 proceed. 60 Quince: Robin Starveling, the tailor. 22 Quince: You, Nick Bottom, are set down for 61 Starveling: Here, Peter Quince. 23 Pyramus. 62 Quince: Robin Starveling, you must play Thisby s 24 Bottom: What is Pyramus? A lover, or a tyrant? 63 mother. Tom Snout, the tinker. 25 Quince: A lover, that kills himself most gallant for 64 Snout: Here, Peter Quince. 26 love. 65 Quince: You, Pyramus father. Myself, Thisby s 27 Bottom: That will ask some tears in the true 66 father. Snug, the joiner, you, the lion s part. And, I 28 performing of it. If I do it, let the audience look to 67 hope, here is a play fitted. 29 their eyes, I will move storms, I will condole 5 in some 68 Snug: Have you the lion s part written? Pray you, if 30 measure. To the rest. Yet my chief humour 6 is 69 it be, give it me, for I am slow of study. 31 for a tyrant. I could play Ercles 7 rarely, or a part to 70 Quince: You may do it extempore, for it is nothing 32 tear a cat 8 in, to make all split. 71 but roaring. 33 The raging rocks 72 Bottom: Let me play the lion too. I will roar, that I 34 And shivering shocks 73 will do any man s heart good to hear me; I will 35 Shall break the locks 74 roar that I will make the Duke say, Let him roar 36 Of prison gates. 75 again, let him roar again. 37 And Phibbus 9 car Quince: An you should do it too terribly, you 38 Shall shine from far, 77 would fright the Duchess and the ladies, that they 39 And make and mar 78 would shriek; and that were enough to hang us all. 40 The foolish Fates. 79 ALL: That would hang us, every mother s son. 1 PLEASE GO ON TO THE NEXT PAGE

2 Bottom: I grant you, friends, if you should fright 96 in-grain 14 beard, or your French-crowncolor beard, the ladies out of their wits, they would have no 97 your perfect yellow. more discretion but to hang us. But I will 98 Quince: Some of your French crowns have no hair aggravate 12 my voice so that I will roar you as 99 at all, and then you will play barefaced. But, gently as any sucking dove, I will roar you an 100 masters, here are your parts. And I am to entreat twere any nightingale. 101 you, request you, and desire you, to con 15 them by Quince: You can play no part but Pyramus; for 102 to-morrow night; and meet me in the palace wood, Pyramus is a sweet-faced man, a proper 13 man as 103 a mile without the town, by moonlight. There will one shall see in a summer s day, a most lovely, 104 we rehearse, for if we meet in the city, we shall be gentleman-like man. Therefore you must needs 105 dogged with company, and our devices known. In play Pyramus. 106 the meantime I will draw a bill of properties such Bottom: Well, I will undertake it. What beard 107 as our play wants. I pray you, fail me not. were I best to play it in? 108 Bottom: We will meet, and there we may rehearse Quince: Why, what you will. 109 most obscenely 16 and courageously. Take pains; be Bottom: I will discharge it in either your straw- 110 perfect. Adieu. color beard, your orange-tawny beard, your purple- 111 Quince: At the Duke s Oak we meet. 112 Bottom: Enough. Hold or cut bowstrings. 17 Act III, Scene i Bottom: Nay, you must name his name, and 22 Quince: Then there is another thing. We must half his face must be seen through the lion s 23 have a wall for Pyramus and Thisbe, says the neck, and he himself must speak.saying 24 story, did talk through the chink of a wall.. Ladies, of fair ladies, I would wish you 25 Snout: You can never bring in a wall. What say or I would entreat you, not to fear, not to 26 you, Bottom? tremble If you think I come hither as a lion, it 27 Bottom: Some man or other must present Wall. were pity of my life. No, I am no such thing; I 28 And let him have some plaster, or some am a man as other men are, And there indeed 29 loam to signify wall; or let him hold his let him name his name. 30 fingers thus, and through that cranny shall Quince: Well it shall be so. But there is two 31 Pyramus and Thisbe whisper. hard things: that is to bring moonlight into the 32 Quince: If that may be, then all is well. Come, chamber; for you know, Pyramus and Thisbe 33 sit down and rehearse your parts. Pyramus, meet by moonlight. 34 you begin Snout: Doth the moon shine on that night we 35 Enter Robin Goodfellow (Puck) play our play? 36 Puck: [aside] What [rough people] have we Bottom: A calendar! A calendar! Look in the 37 swaggering here? What, a play [about to almanac.[they consult an almanac.] 38 begin]? I ll be a listener; An actor, too, perhaps, Quince: Yes, it doth shine that night. 39 if I see cause. Bottom: Why then may you leave a window open, and the moon may shine in. 1 generally Bottom loves a long word, but usually gets it wrong. Here he means severally ; i.e., separately 2 scrip list 3 interlude play 4 grow... point come to a conclusion 5 condole Bottom means lament 6 humour preference 7 Ercles Hercules, a roaring figure in the old drama 8 tear a cat proverbial expression meaning to overact 9 Phibbus for Phoebus, the sun god 10 car chariot 11 An if 12 aggravate he means moderate, or to soften 13 proper handsome 14 purple-in-grain dyed purple 15 con learn by heart 16 obscenely he means obscurely, or hidden 17 Hold... bowstrings a proverbial phrase, of which the origin is not satisfactorily explained, meaning come what may 2 PLEASE GO ON TO THE NEXT PAGE

3 QUESTIONS 1-6 REFER TO Act I, Scene ii: 1. What does Bottom mean in lines 27-29, when he says: That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes, I will move storms? A. He is bragging that he can make the audience laugh. B. He is bragging that he can make the audience weep. C. He is suggesting that he can make a storm appear. D. He is suggesting that he can make the audience tremble with fear. 2. Which of the following literary devices is not found in Bottom s speech from lines 33-40? The raging rocks And shivering shocks Shall break the locks Of prison gates. And Phibbus car Shall shine from far, And make and mar The foolish Fates. A. allusion B. alliteration C. rhyme D. simile 3. The word extempore comes from the Latin affix ex, which means out of and the Latin root tempus, which means time. Which of the following best defines the word extempore as it is used in lines 70-71? QUINCE: You may do it extempore, for it is nothing but roaring. A. spontaneously B. randomly C. hastily D. quickly 4. Why does Quince want the men to meet in the woods the next night? A. The play will be at night, so the men must practice after sunset. B. The woods will provide echoes to magnify the actors voices. C. The actors want to surprise everyone, so they must practice in secret. D. The play s setting is a forest, so the actors prefer to practice in one. 5. Which of the following details from this excerpt does not support the idea that male actors played female roles during Shakespeare s time? A. Bottom is assigned the part of Pyramus. B. Bottom wants to play a role using a monstrous little voice. C. Robin Starveling, the tailor, is assigned the part of Thisby s mother. D. Flute has a beard coming in, so he does not want to play Thisby s role. 6. Which of the following lines does not contain a contradiction, a feature of many Shakespearean plays? A. I will roar you an twere any nightingale. B. if it be, give it to me, for I am slow of study C. I ll speak in a monstrous little voice. D. Marry, our play is, The lamentable comedy 3 PLEASE GO ON TO THE NEXT PAGE

4 QUESTIONS 7-9 REFER TO Act III, Scene i: 7. In lines 2-3, why does Bottom state that half [the actor s] face must be seen through the lion s neck? A. The character in the play is a man in a lion s costume. B. The character in the play is half-man, half-lion. C. The actor playing the lion must be able to see where he is going. D. The man playing the lion might frighten the women in the audience. 8. Which elements of staging do the men discuss before they begin to rehearse? A. costumes and lighting B. costumes and sound effects C. lighting and sound effects D. sound effects and props 9. In lines 36-39, to whom does Puck address his aside? A. Bottom B. Snout C. the audience D. the duke QUESTIONS REFER TO BOTH SCENES: 10. Which of the following characteristics of drama is not found in either excerpt? A. dialogue to reveal character B. dialogue to advance plot C. conflict/resolution D. stage directions 11. Which of the following pairs of opposites is most prominently developed in both excerpts? A. comedy vs. tragedy B. workers vs. rulers C. men vs. women D. illusion vs. reality 12. Which of the following words does not describe the mood of both excerpts? A. relaxed B. dignified C. lighthearted D. playful 4 PLEASE GO ON TO THE NEXT PAGE

5 READING RESPONSE Choose one word to describe Bottom, and using three details from the excerpts as support, explain your choice. Reading Response Score [See rubric]

6 KEY GLEs Question Difficulty Level 1. M 03b. Identify and explain the significance of literary devices, including: imagery 04c.Draw conclusions/make inferences about five-act plays 03. Analyze the significance within a context of literary devices: allusion, alliteration, rhyme 01ab. Extend basic/technical vocabulary using context clues; knowledge of Greek and Latin roots 11a Demonstrate understanding by summarizing/ paraphrasing story elements 02b. Identify and explain story elements, including: author s pacing of action and use of plot development, subplots, parallel episodes, and climax to impact the reader 06. Compare/contrast cultural history, 1. What does Bottom mean in lines 27-29, when he says: That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes, I will move storms? A. He is bragging that he can make the audience laugh. B. He is bragging that he can make the audience weep. C. He is suggesting that he can make a storm appear. D. He is suggesting that he can make the audience tremble with fear. 2. Which of the following literary devices is not present in Bottom s speech? The raging rocks And shivering shocks Shall break the locks Of prison gates. And Phibbus car Shall shine from far, And make and mar The foolish Fates. A. allusion B. alliteration C. rhyme D. simile 3. The word extempore comes from the Latin affix ex, which means out of and the Latin root tempus, which means time. Which of the following best defines the word extempore as it is used in lines 70-71? QUINCE: You may do it extempore, for it is nothing but roaring. A. spontaneously B. randomly C. hastily D. quickly 4. Why does Quince want the men to meet in the woods the next night? A. The play will be at night, so the men must practice after sunset. B. The woods will provide echoes to magnify the actors voices. C. The actors want to surprise everyone, so they must practice in secret. D. The play s setting is a forest, so the actors prefer to practice in one. 5. Which of the following details from this excerpt does not support the idea that male actors played female roles during Shakespeare s time? 6 2. L 3. M 4. M 5. M

7 perspectives, and language found in multicultural texts 03b. Identify and explain the significance of literary devices, including imagery 09c. Analyze distinctive elements (theme and structure) of literary forms and types, including drama, including ancient, Renaissance, and modern 11c.. Demonstrate understanding by comparing contrasting complex literary elements, within/across texts 11a Demonstrate understanding by summarizing/ paraphrasing story elements 04c. Draw conclusions/make inferences about five-act plays 11a Demonstrate understanding by summarizing/ paraphrasing story elements 09c. Analyze distinctive elements (theme and structure) of literary forms and types, including drama, including ancient, Renaissance, and modern 08. Identify and explain recurrent themes in world literature 09c. Analyze distinctive elements (theme and structure) of literary forms and types, including drama, including ancient, Renaissance, and modern A. Bottom is assigned the part of Pyramus. B. Bottom wants to play a role using a monstrous little voice. C. Robin Starveling, the tailor, is assigned the part of Thisby s mother. D. Flute has a beard coming in, so he does not want to play Thisby s role. 6. Which of the following lines does not contain a contradiction, a feature of many Shakespearean plays? A. I will roar you an twere any nightingale. B. if it be, give it to me, for I am slow of study C. I ll speak in a monstrous little voice. D. Marry, our play is, The lamentable comedy 7. In lines 2-3, why does Bottom state that half [the actor s] face must be seen through the lion s neck? A. The character in the play is a man in a lion s costume. B. The character in the play is half-man, half-lion. C. The actor playing the lion must be able to see where he is going. D. The man playing the lion might frighten the women in the audience. 8. Which elements of staging do the men discuss before they begin to rehearse? A. costumes and lighting B. costumes and sound effects C. lighting and sound effects D. sound effects and props 9. In lines 36-39, to whom does Puck address his aside? A. Bottom B. Snout C. the audience D. the duke 10. Which of the following pairs of opposites is most prominently developed in both excerpts? A. comedy vs. tragedy B. workers vs. rulers C. men vs. women D. illusion vs. reality 7 6. M 7. M 8. M 9. M 10. M

8 09c. Analyze distinctive elements (theme and structure) of literary forms and types, including drama, including ancient, Renaissance, and modern 02. Analyze the development of story elements 11. Which of the following characteristics of drama is not found in the excerpts? A. dialogue to reveal character B. dialogue to advance plot C. conflict/resolution D. stage directions 12. Which of the following words does not describe the mood of both excerpts? A. relaxed B. dignified C. lighthearted D. playful 11. M 12. M 8

9 RUBRIC FOR READING RESPONSE Choose one word to describe Bottom, and using three details from the excerpts as support, explain your choice. Score Key Details Possible Word Choices bossy, demanding, or self-centered Key quotes/examples Description Student describes Bottom with an insightful word. Three relevant and specific examples are provided as support, and the response is well developed. Student demonstrates a thorough understanding of the item and the passage. Student describes Bottom with an appropriate word. Three specific examples are provided as support, and the response is reasonably developed. Student demonstrates a general understanding of the item and the passage. Student describes Bottom with an appropriate word.. Examples from the passage may be partially correct or missing (at least one example is relevant, however). Response lacks development and demonstrates a limited understanding of the item/passage. 1 Response addresses some part of the prompt. Understanding is minimal. 0 No response/response is completely incorrect or irrelevant. Act I, Scene ii [4-5] You were best to call them generally 1, man by man, according to the scrip 2. [10-12] First, good Peter Quince, say what the play treats on. Then read the names of the actors, and so grow to a point 4. [15-17] A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves. [20-21] Ready? Name what part I am for, and proceed. [59] Well, proceed. [72] Let me play the lion too. boastful or bragging Act I, Scene ii [27-30] That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes, I will move storms, I will condole 5 in some measure. [53-56] An 11 I may hide my face, let me play Thisby too. I ll speak in a monstrous little voice. Thisne, Thisne. Ah, Pyramus, my lover dear! Thy Thisby dear, and lady dear! [72-75] I will roar, that I will do any man s heart good to hear me; I will roar that I will make the Duke say, Let him roar again, let him roar again. [82-85] But I will aggravate 12 my voice so that I will roar you as gently as any sucking dove, I will roar you an twere any nightingale. [94-97] I will discharge it in either your straw-color beard, your orange-tawny beard, your purple-in-grain 14 beard, or your French-crowncolor beard, your perfect yellow. [ ] We will meet, and there we may rehearse most obscenely 16 and courageously. Other words and key details are possible, so long as the explanation and details match the chosen word. 9