Multiple Pathways to Success Quarter 3 Learning Module Aligned with Maryland State Standards English English 10 Prince George s County Public Schools Board of Education of Prince George s County, Maryland
QLM Overview: Part 1: Introduction to Poetry and Poetic Devices Part 2: Literary Analysis: Narrative Elements Quarter 3 QLM 2 Maryland College and Career Ready Standards CCSS.ELA-LITERACY.RI.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-LITERACY.RI.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. CCSS.ELA-LITERACY.RI.3 Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them. CCSS.ELA-LITERACY.RI.6 Determine an author's point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. CCSS.ELA-LITERACY.RI.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning. CCSS.ELA-LITERACY.W.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. CCSS.ELA-LITERACY.W.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. CCSS.ELA-LITERACY.W.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. CCSS.ELA-LITERACY.W.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience CCSS. ELA-LITERACY.W.9 Apply grades 9-10 Reading standards to literary nonfiction (e.g., "Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning"). CCSS.ELA-LITERACY.SL.3 Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.
3 Part I: Introduction to Poetry We know poetry when we see it. One way to define it is as maximum impact from minimum words. Poetry is highly artistic and expressive. It deals with emotions and contains a high level use of figurative language. Poems come in all forms - sonnets, haikus, concrete - and many come in no form at all as free-verse poem. Some can be long epics, like Gilgamesh, the Iliad, and the Odyssey, and some can be short like, On the Antiquity of Microbes, which goes as follows Fleas / Adam had em. The thing to note about poetry is that it is a tool that a writer can fashion to his or her ability and taste to express their emotions in the most artistic way one can in writing. Poems can t always fit neatly into categories, but most contain at least one of the three elements below: Figurative language Sound devices Rhythm and Form
Let s see how these elements function in poems. Quarter 3 QLM 4
1.1 Figurative Language Quarter 3 QLM 5
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9 Concept Check 1.1 Read the lines below and identify if it is an example of metaphor, simile, imagery, personification, or symbolism. Read... Look at... Identify as... From N. Scott Momaday: What did we say to each other That we are now as the deer From William Shakespeare s Sonnet 18 Nor shall Death brag thou wander st in his shade From Robert Hayden s Those Winter Sundays and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made From Edgar Allan Poe s The Raven Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; From Luis Lloréns Torres Love Without Love the comparison using the deer Death Hayden s use of blueblack, cracked hands that ached and weekday weather darkness The dog of my heart
When you climb up my mansion, enter so lightly, that as you enter the dog on my heart will not bark. Quarter 3 QLM 10
11 Lastly, explain how the figurative devices can be used to convey an idea for three of the example on p.7. Consider the comparison or representation that is occurring and how it can help a reader better understand the idea being presented. Example 1 (identify here) Example 2 (identify here) Example 3 (identify here)
1.2 Sound Devices Quarter 3 QLM 12
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Concept Check 1.2 Complete the chart below Quarter 3 QLM 15 Read... Ask yourself... Identify sound and device From Edgar Allan Poe s The Raven Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; From Tupac Shakur s A Rose that Grew From Concrete Funny it seems, but by keeping its dreams It learned to breathe fresh air What sound is being repeated? What do you call that type of repetition? What sound is being repeated? What do you call that type of repetition? From Edgar Allan Poe s Annabel Lee It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; What sound is being repeated? What do you call that type of repetition? Now let s identify rhyme scheme. Read Shakespeare s Sonnet 18 and identify the rhyme scheme by writing the letter that corresponds with a sound. We did the first two, now do the remaining 12: Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. 1.3 Rhythm and Form A B
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Concept Check 1.3 Quarter 3 QLM 17 Below is Shakespeare s Sonnet 18. His sonnets were written in iambic pentameter. Iambic (refer to the previous chart) means that there are two syllables with the first one being unstressed ( as marked with a U) and the second being stressed (marked with a / ). That makes one foot of syllables. Pentameter means that there are five feet of syllables. So, one line of a sonnet contains 10 syllabus with every other syllable being stressed. For each line of the sonnet, denote the stressed and unstressed syllables. We did the first line for you as an example. U / U / U / U / U / Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Now in the space below, describe the effect of iambic pentameter. Be sure to consider the rhythm of the syllables.
Assessment Read these two poems, which were written in 1860 and 1945 respectively. Quarter 3 QLM 18 Piano By D.H. Lawrence Softly, in the dusk, a woman is singing to me; Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings And pressing the small, poised feet of a mother who smiles as she sings. In spite of myself, the insidious mastery of song Betrays me back, till the heart of me weeps to belong To the old Sunday evenings at home, with winter outside And hymns in the cosy parlour, the tinkling piano our guide. So now it is vain for the singer to burst into clamour With the great black piano appassionato. The glamour Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past. Those Winter Sundays By Robert Hayden Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him. I d wake and hear the cold splintering, breaking. When the rooms were warm, he d call, and slowly I would rise and dress, fearing the chronic angers of that house, Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love s austere and lonely offices? Annotate the poems by highlighting: Things that help you understand what the poem is about Words you don t know (which you will then look and define) Things that confuse you Any use of figurative language Any use of sound devices Any use of rhythm and form
19 Now complete the chart below by identifying the poetic elements in each box. Consider your previous lessons as support. Be sure to include text evidence to support your assertions. Poetic Elements Piano Those Winter Sundays Figurative Language Sound Devices Rhythm and Form
20 Part 2: Literary Analysis 2.1 Setting The setting is where the story takes place. It might include historical background, time, local color. Local color is characteristics that sets the place apart and makes it different from other places. Often the author doesn t say the story takes place in a certain location, at a certain time, instead the author provides details describing the location and the time. It allows the readers to paint a picture in their mind. Concept Check 2.1 Close Reading Read this excerpt of the Holocaust memoir Night and underline the portions of text from which describe the setting. In this passage, the author Elie Wiesel is describing his neighborhood after his fellow Jews were being moved from their home into a ghetto. Keep that in mind as you read - Wiesel has endured the Holocaust, and he s writing in reflection of the process the Nazis used to isolate and then exterminate the Jewish people. AT LAST, at one o'clock in the afternoon came the signal to leave. There was joy, yes, joy. People must have thought there could be no greater torment in God's hell than that of being stranded here, on the sidewalk, among the bundles, in the middle of the street under a blazing sun. Anything seemed preferable to that. They began to walk without another glance at the abandoned streets, the dead, empty houses, the gardens, the tombstones... On everyone's back, there was a sack. In everyone's eyes, tears and distress. Slowly, heavily, the procession advanced toward the gate of the ghetto. And there I was, on the sidewalk, watching them file past, unable to move. Here came the Chief Rabbi, hunched over, his face strange looking without a beard, a bundle on his back. His very presence in the procession was enough to make the scene seem surreal. It was like a page torn from a book, a historical novel, perhaps, dealing with the captivity in Babylon or the Spanish Inquisition. They passed me by, one after the other, my teachers, my friends, the others, some of whom I had once feared, some of whom I had found ridiculous, all those whose lives I had shared for years. There they went, defeated, their bundles, their lives in tow, having left behind their homes, their childhood. They passed me by, like beaten dogs, with never a glance in my direction. They must have envied me.
21 The procession disappeared around the corner. A few steps more and they were beyond the ghetto walls. The street resembled fairgrounds deserted in haste. There was a little of everything: suitcases, briefcases, bags, knives, dishes, banknotes, papers, faded portraits. All the things one planned to take along and finally left behind. They had ceased to matter. Open rooms everywhere. Gaping doors and windows looked out into the void. It all belonged to everyone since it no longer belonged to anyone. It was there for the taking. An open tomb. A summer sun. --------- Apply: Brief Constructed Response: How does the author describe the setting, and what mood does the author s description of the setting create? 2.2 Characterization Characterization is a literary device that is used step by step in literature to highlight and explain the details about a character in a story. 1. Direct or explicit characterization This kind of characterization takes a direct approach towards building the character. It uses another character, narrator or the protagonist himself to tell the readers or audience about the subject. 2. Indirect or implicit characterization This is a more subtle way of introducing the character to the audience. The audience has to deduce for themselves the characteristics of the character by observing his/her thought process, behavior, speech,
22 way of talking, appearance, and way of communication with other characters and also by discerning the response of other characters. Concept Check 2.2 Read the selected portion of text, and underline the names of each of the characters mentioned. Life became a race with the fire and the boys scattered through the upper forest. To keep a clean flag of flame flying on the mountain was the immediate end and no one looked further. Even the smallest boys, unless fruit claimed them, brought little pieces of wood and threw them in. The air moved a little faster and became a light wind, so that leeward and windward side were clearly differentiated. On one side the air was cool, but on the other the fire thrust out a savage arm of heat that crinkled hair on the instant. Boys who felt the evening wind on their damp faces paused to enjoy the freshness of it and then found they were exhausted. They flung themselves down in the shadows that lay among the shattered rocks. The beard of flame diminished quickly; then the pile fell inwards with a soft, cindery sound, and sent a great tree of sparks upwards that leaned away and drifted downwind. The boys lay, panting like dogs. Ralph raised his head off his forearms. That was no good. Roger spat efficiently into the hot dust. What d you mean? There wasn t any smoke. Only flame. Piggy had settled himself in a space between two rocks, and sat with the conch on his knees. We haven t made a fire, he said, what s any use. We couldn t keep a fire like that going, not if we tried. A fat lot you tried, said Jack contemptuously. You just sat. We used his specs, said Simon, smearing a black cheek with his forearm. He helped that way. I got the conch, said Piggy indignantly. You let me speak! The conch doesn t count on top of the mountain, said Jack, so you shut up. I got the conch in my hand. Put on green branches, said Maurice. That s the best way to make smoke. I got the conch Jack turned fiercely. You shut up! Piggy wilted. Ralph took the conch from him and looked round the circle of boys. We ve got to have special people for looking after the fire. Any day there may be a ship out there he waved his arm at the taut wire of the horizon and if we have a signal going they ll come and take us off. And another thing. We ought to have more rules. Where the conch is, that s a meeting. The same up here as down there. They assented. Piggy opened his mouth to speak, caught Jack s eye and shut it again. Jack held out his hands for the conch and stood up, holding the delicate thing carefully in his sooty hands. I agree with Ralph. We ve got to have rules and obey them.
23 After all, we re not savages. We re English, and the English are best at everything. Home Page Title Page Contents!! ""! " Page 59 of 290 Go Back Full Screen Close Quit So we ve got to do the right things. He turned to Ralph. Ralph, I ll split up the choir my hunters, that is into groups, and we ll be responsible for keeping the fire going This generosity brought a spatter of applause from the boys, so that Jack grinned at them, then waved the conch for silence. We ll let the fire burn out now. Who would see smoke at nighttime, anyway? And we can start the fire again whenever we like. Altos, you can keep the fire going this week, and trebles the next The assembly assented gravely. And we ll be responsible for keeping a lookout too. If we see a ship out there they followed the direction of his bony arm with their eyes we ll put green branches on. Then there ll be more smoke. They gazed intently at the dense blue of the horizon, as if a little silhouette might appear there at any moment. The sun in the west was a drop of burning gold that slid nearer and nearer the sill of the world. All at once they were aware of the evening as the end of light and warmth. Roger took the conch and looked round at them gloomily. I ve been watching the sea. There hasn t been the trace of a ship. Perhaps we ll never be rescued. A murmur rose and swept away. Ralph took back the conch. I said before we ll be rescued sometime. We ve just got to wait. Apply: List the characters, and identify the character traits shown in this portion of text. Provide textual evidence for your response. Character Character Trait Evidence Ralph Jack Simon Piggy
24 2.3 Symbolism Concept Check 2.3 Choose one of the selected novels for this unit and identify two symbols, explain the significance of the symbol and the evidence from the text to support the symbol. Novel Symbol Explanation Evidence 2.4 Conflict Definition of Conflict In literature, conflict is the result of competing desires or the presence of obstacles that need to be overcome. Conflict is necessary to propel a narrative forward; the absence of conflict amounts to the absence of story. There are three main types of conflict identified in literature: man versus man, man versus nature, and man versus self. Note that these standard classifications use man as a universal term, including women as well. Let s take a closer look at these three definitions of conflict. Man versus man: A situation in which two characters have opposing desires or interests. The typical scenario is a conflict between the protagonist and antagonist. This is an external conflict. Most thrillers and mysteries have this type of conflict, such as Dan Brown s The Da Vinci Code and Agatha Christie s And Then There Were None.
25 Man versus nature: In this type of conflict, a character is tormented by natural forces such as storms or animals. This is also an external conflict. Ernest Hemingway s The Old Man and the Sea and Moby Dick by Herman Melville are examples of this type of conflict. Man versus self: This conflict develops from a protagonist s inner struggles, and may depend on a character trying to decide between good and evil or overcome self-doubts. This conflict has both internal and external aspects, as obstacles outside the protagonist force the protagonist to deal with inner issues. William Shakespeare s Hamlet is an example. Man versus society: In this type of conflict, a character must take on society itself, and not a single person. The character stands at odds with societal norms and realizes the necessity to work against these norms. This is an external conflict. Conflict examples are John Steinbeck s The Pearl, Ralph Ellison s Invisible Man, and The Catcher in the Rye by J. D. Salinger. Man versus fate: This situation results from a protagonist working against what has been foretold for that person. While this conflict was more prevalent in stories where gods could control fate, such as in ancient Greek dramas, there are still examples of this type of conflict in more contemporary literature. An example would be Kurt Vonnegut s Slaughterhouse Five. 1 Concept Check 2.4 Consider each type of conflict, and explain how that conflict can be seen in Night or the selected novel for your school. Name of Novel Author Type of Conflict Explanation Evidence from the text Man vs. Man Man vs. Nature 1 "Conflict - Examples and Definition of Conflict - Literary Devices." 2013. 15 Mar. 2016 <http://literarydevices.net/conflict/>
26 Man vs. Self Man vs. Society Man vs. Fate
27 Grade 10 Quarter 3 Learning Module Grading Sheet Module Section Points Earned Part 1- Poetry Concept Check 1.1 Figurative Language Concept Check 1.2 Sound Devices Concept Check 1.3 Rhythm and Form Assessment Practice /5 Apply /5 Practice /5 Apply /5 Practice /5 Apply /5 Practice /5 Apply /5 Part 2- Literary Analysis Concept Check 2.1Setting Concept Check 2.2 Characterization Concept Check 2.3 Symbolism Concept Check 2.4 Conflict Total Points Practice /5 Apply /4 Practice /5 Apply /5 Practice /5 Apply /5 Practice /5 Apply /5 /80
28 PARCC Rubric - Use for Concept Check 2.1 BCR Reading Comprehension of Key Ideas and Details 5 4 3 2 1 The student response provides an accurate analysis of what the text says explicitly and inferentially and cites convincing textual evidence to support the analysis, showing full comprehension of complex ideas expressed in the text(s). The student response provides a mostly accurate analysis of what the text says explicitly and inferentially and cites textual evidence to support the analysis, showing extensive comprehension of ideas expressed in the text(s). The student response provides a generally accurate analysis of what the text says explicitly or inferentially and cited textual evidence, shows a basic comprehension of ideas expressed in the text(s). The student response provides a minimally accurate analysis of what the text says and cited textual evidence, shows limited comprehension of ideas expressed in the text(s). The student response provides an inaccurate analysis or no analysis of the text, showing little to no comprehension of ideas expressed in the text(s).