Differentiated Instruction For Advanced Students With Answer

Advanced
Students
Differentiated Instruction for Advanced Students, British Tradition

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CONTENTS
Introduction
vi
Unit 1
The Conversion of King Edwin, from Ecclesiastical History of the English People
Historical Context Project: The Early Middle Ages
from Beowulf
Literary Form Activity: Epics
The Head of Humbaba, from Gilgamesh
World Literature Study: Folk Epics of the World
The Seafarer
Comparing Literature Activity: Find Points of Comparison and Contrast
1
2
5
7
Unit 2
Bonny Barbara Allan
Literary Form Activity: Experiment with Poetic Form
The Prologue, from The Canterbury Tales
Literary Connection Study: The Frame Tale
from Everyman
Archetypal Character Study: Everystudent
Federigos Falcon, from The Decameron
World Literature Project: Familiar Motifs
8
9
10
12
Unit 3
Whoso list to hunt / With how sad steps
Literary Form Study: The Sonnet
Let me not to the marriage of true minds (Sonnet 116)
Literary Criticism Activity: An Authors Life and Time
The Passionate Shepherd to His Love / The Nymphs Reply to the Shepherd
Comparing Literature Activity: A Fictional Dialogue
Eves Apology in Defense of Women, from Salve Deus Rex Judaeorum
Literary Response Project: Responding as a Group
13
15
16
18
Unit 4
The Tragedy of Macbeth
Historical Context Project: Witchcraft in Renaissance Britain
from The Analects
World Literature Study: Studies in Leadership
from The Tragical History of Doctor Faustus
Literary Connection Activity: Genesis and the Faustian Bargain
Monologues and Soliloquies from Shakespeares Plays
Comparing Literature Activity: Monologues and Soliloquies
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Unit 5
How soon hath Time (Sonnet VII)
Primary Source Study: Literature as a Primary Source
from Oroonoko
Cultural Connection Study: Kingdoms of West Africa
from The Diary of Samuel Pepys / from A Journal of the Plague Year
Literary Form Project: The Diary
from The Diary of Fanny Burney
Informational Text Activity: Answering Questions Asked by a Text
24
25
26
28
Unit 6
Kubla Khan
Historical Context Activity: Reinventing the Past
She Walks in Beauty
Authors Style Study: Analyzing Byrons Style
The Lorelei
World History Activity: History Tour of the Rhine
from Introduction to Frankenstein
Literary Context Study: Gothic Fiction
29
30
31
32
Unit 7
from Great Expectations
Literary Form Study: Characters in a Novel
The Lagoon
Theme Study: Implied Themes
The Lady of Shalott
Art Connection Project: Pre-Raphaelite Painting
When I Was One-and-Twenty
Music Connection Activity: Music and Poetry
34
35
37
39
Unit 8
The Rising of the Moon
Primary Source Project: Theater Reviews
from A Room of Ones Own
Literary Criticism Activity: A Womans Voice
The Music of Poetry
Literary Connection Project: Sound, Sense, and Nonsense
War Poet / Words
Comparing Literature Activity: War Poetry
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Unit 9
Shooting an Elephant
Historical Context Activity: Britains Empire
Do Not Go Gentle Into That Good Night
Literary Form Study: Reconstruct a Villanelle
from Balzac and the Little Chinese Seamstress
World Literature Activity: Political Oppression
Dead Mens Path
Cultural Context Project: Indigenous Rights
47
48
49
50
Answer Key
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Introduction
Universities and employers have found that many incoming students and entrylevel employees lack the reading and writing skills needed to succeed in their
new endeavors. Some blame this problem on a lack of rigor in the language arts
programs at the high school level. Studies show that most students want to be
challenged to gain the high-level skills that will help them succeed in college and in
the workplace. This is especially true for advanced students.
Differentiated Instruction for Advanced Students provides multiple
opportunities to engage students and to teach them the skills necessary to excel
in college-level, literature-based reading, thinking, discussion, and writing tasks.
This supplement contains extended lessons for four selections from each unit in
the Mirrors & Windows: Connecting with Literature Student Edition. These lessons
integrate a variety of resources and media to help students analyze, compare, and
appreciate literature from diverse cultures. The activities are designed to prepare
students to move beyond a basic understanding of what is occurring in the literary
text. Knowledge of characters, plot, and theme becomes the starting point rather
than the goal. Students are challenged to extend their comprehension skills and to
focus on critical analysis.
Each lesson focuses on a particular selection in the textbook. The lesson
expands on an aspect of that selection, often in many cases taking students outside
the textbook and connecting them with other pieces of literature or fields of study.
Students are then asked to respond by creating products, such as written essays
and research papers, multimedia presentations, and works of art and performance.
A broad range of activities are offered to motivate students and encourage
independent inquiry and learning, literary analysis and criticism, genre study, and
in-depth exploration of primary sources and informational texts.
Differentiated Instruction for Advanced Students provides students with
opportunities to hone their reading, writing, and research skills as they explore
the rich world of literature and beyond. The activities are not busywork, but
meaningful exercises of the mind that build skills students will need as they
progress through college and careers. The assignments help students become deep
thinkers, critical readers, and independent problem-solvers. As they are challenged
to meet higher expectations, they will come closer to realizing their ever-expanding
potential.
In addition to the wealth of meaningful lessons in this book, you will find
enrichment activities for every literature selection in the Differentiated Instruction
boxes located in the bottom margins of the Annotated Teachers Edition.
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Name: ____________________________________________________ Date: __________________
The Conversion of King Edwin from Ecclesiastical History of the English People,
page 11
HISTORICAL CONTEXT PROJECT
The Early Middle Ages

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

For this activity, think of the Early Middle Ages as if it consisted of concentric circles.
In the central circle is the Venerable Bedeor another such monkaround the year
700 ce. Encircling him are the farms, villages, and castles of rural England. A larger
circle still encompasses all of Britain, where warring nations fight for supremacy. The
fourth and largest circle encompasses life in the European continent.
Work with three other students to research the following topics, each
representing a circle described above. Have each group member research one topic.
The Monasteries. What was the importance of the monasteries? What was life
like inside them?
Domestic Life in England. How did people live outside the sheltered
monasteries? How was society organized?
Britain as a Whole. What people had invaded and settled Britain? Where did
they live? Who held the power?
The Shape of Europe. What was happening on the continent? What great
leaders had emerged? What countries had formed or fallen apart?
Research and take notes on your topic. Then share your findings with your
group. Your groups assignment will be to present to your class an overview of
Britain and Europe during the Early Middle Ages. See Language Arts Handbook
7.3, Collaborative Learning and Communication, in your textbook, for guidelines
on creating a group project.
Present
Choose a way to present your knowledge of the Early Middle Ages to your
classmates. Instead of reading four reports, endeavor to entertain your audience.
Consider using one of the following methods: a panel discussion; a PowerPoint
presentation; a question-and-answer session; a scripted and filmed student
documentary; or a series of interviews with experts from the period.
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Name: ____________________________________________________ Date: __________________
from Beowulf, page 23
LITERARY FORM ACTIVITY
Epics
Beowulf is widely acknowledged as one of the finest epics in recorded history. An
epic is a long narrative poem that portrays the heroic acts of legendary figures
and mythical gods. This type of poem follows the format of a narrative or story,
with characters, setting, plot, and conflict, but its purpose is more than just
entertainment. With its roots in the oral tradition of storytelling, an epic also
reflects a period of history and therefore provides a portrait of an entire cultures
legends, beliefs, laws, arts, and ways of life.
Epic Hero
Central to the narrative of an epic is the main character, known as the epic hero.
An epic hero is an archetype, or a type of character that has appeared in the
literature of the world from ancient times until today. Historically, an epic hero
was a male of royal lineage who possessed certain personal qualities that helped
him, and sometimes hindered him, in his quest to conquer evil. More frequently in
contemporary literature, the hero is a woman.
Below is a list of these common epic hero qualities:
courage
resourcefulness
vulnerability
integrity
intelligence
resilience
arrogance or pride
physical strength
sacrifice
altruism
faithfulness
leadership
Although epic heroes embody these human characteristics, they appear largerthan-life because they also have extraordinary or supernatural abilities that allow
them to conquer monsters and other villains.
Contemporary literature is filled with heroes modeled after this archetype,
including Harry Potter in the Harry Potter series and Frodo in Lord of the Rings.
Some consider Joan of Arc to be an epic hero. Movies, such as Braveheart,
Gladiator, Rob Roy, Spartacus, and Star Wars, also pay homage to the epic hero.
Epic Hero Cycle

In addition to the archetypal epic hero, the structure of an epic follows a distinctive
pattern known as an epic hero cycle. In an epic hero cycle, the hero is charged with
a quest that tests his or her worthiness. This quest typically involves a battle with an
evil force. Along the journey, the hero is assisted by many mythical creatures and
typically enters a supernatural world. Just when the hero feels defeated, the heros
fortitude is resurrected, and the hero takes his or her place on the family throne.
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Get Started
In this lesson, you are being charged with your own quest: to write and illustrate a
childrens book that models an epic tale. Your target audience should be between
the ages of seven and eleven. Remember to keep the words and actions of the story
appropriate for the particular age or ages you choose.
For inspiration, take a look at the following childrens books that have used a
similar epic model: Saint George and the Dragon, by Margaret Hodges; The Hero
Beowulf, by Eric Kimmel; Odysseus in the Serpent Maze, by Jane Yolen; Beowulf, by
Gareth Hinds; and The Maiden of Northland, by Aaron Shepard.
To get started, consider the following questions and write the answers in the
spaces allowed:
Questions
Answers
1. Who will be the hero of your tale? Do you want it to

be a person (male or female), an animal, or some
other type of creature? What will the hero look like?
What personal qualities of the hero will be revealed at
different places in your tale?
2. What will be the setting of your story? How will the
setting reflect the culture?
3. What will be the heros quest? What mythical gods or
goddesses will guide the journey?
4. What obstacles will the hero need to overcome in the
journey? What mythical creatures will help the hero
along the way?
5. What main battle will occur where good will triumph
over evil?
6. What will happen to the hero at the end of your tale?
Outline the Story

An epic follows a certain format, as outlined in the graphic organizer beginning
below. Briefly fill in details for your tale.
Format
Details
Invocation: Introduce the epic hero and the quest

or adventure that the hero has been charged with
completing. The invocation also calls on a muse or god
to inspire divine intervention in the narrator as he tells
the tale.
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Format
Details
In Medias Res: Begin the tale in the midst of action or

in medias res, with the epic hero well into his journey.
Start with a heroic main action and introduce an evil
force. Add helpful companions or creatures who will aid
the epic hero.
Flashbacks: Fill in incidents that preceded the main
action; add other helpers who will battle alongside the
epic hero.
Point of Defeat/Resurrection: Have the epic hero
feel defeated but put aside his feelings and forge ahead
in his quest.
Journeys End: Provide closure by revealing what
happened to the epic hero at journeys end: The hero
either assumes his rightful place on his familys throne or
dies and is rewarded spiritually.
Connect and Create

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

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

Cut apart the typed story line and use a glue stick to paste the copy in a blank book.
Allow room for colorful illustrations, and be creative in your approach by using
borders, fabric, pop-up figures, craft materials, and so on that will make your book
unique. Keep the age of your target audience in mind as you make these additions.
When you have finished the book, present your book to a friend or family
member as a gift, or donate your book to the library of your local elementary school.
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Name: ____________________________________________________ Date: __________________
The Head of Humbaba, from Gilamesh, page 56
WORLD LITERATURE STUDY
Folk Epics of the World

The term world literature is often used to describe epic stories, like Gilgamesh,
that are at the heart of a nations history and culture. Although long since written
down, these folk epics are based in oral traditions. Some, in fact, are still in the
repertoire of professional storytellers. Strangely, apart from a handful of works that
have become part of the European canon, most of these epics are still unknown to
western readers.
In this project, you will work with a partner to study a folk epic and present an
oral overview of your selection for your classmates.
Research
Work with a partner to locate several long narrative poems that have their origins
in the oral tradition. Using online or print sources, find a list of such epic works.
Each partner should choose two titles that interest him or herso that the pair of
you study four different epics. Avoid works with which you are already familiar.
Read your selected Epics on your own and record concise details about these works
on the lines below.
1. Title: ________________________________________________________________________
Origin and History: _____________________________________________________________
_____________________________________________________________________________
Description: __________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
2. Title: ________________________________________________________________________
Origin and History: _____________________________________________________________
_____________________________________________________________________________
Description: __________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
Share your findings with your partner. Compare the merits of the works you
investigated and choose one epic that you would like to research together for a
joint oral presentation. Ask your teacher how much time you will have for your
presentation, and take that into consideration as you plan and prepare.
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Prepare
Read the epic you and your partner have chosen to present, taking notes to remind
yourself of passages or details that you find striking or important.
For your presentation, you will give an overview of your chosen work. This will
include
a brief history of the work
a summary of the narrative
a closer look at an important or interesting episode
readings from the text to illustrate the episode you have chosen to describe
Your main challenge in creating this overview will be keeping it concise. Folk
epics are often long and complex. Your summary must stick to the storys main
thread and avoid the many digressions that often interrupt works of this sort.
Your presentation will be a partnership, with each of you taking a speaking
role. Divide the responsibilities, writing an outline of your contents and order of
speaking. When you are satisfied with the form of your presentation, prepare notes
for your individual contributions. See Language Arts Handbook 7.3, Collaborative
Learning and Communication, in your textbook, for additional guidelines on
efficient collaboration with a partner to create a presentation.
Practice and Present

Practice your presentation, working to achieve comfort and fluency. Use a
stopwatch to help yourselves keep within the allotted time. Work from note cards,
not a written script, so that you can address your audience more directly. Read any
passages from the text slowly and expressively, keeping in mind that the language
and style may be unfamiliar to your audience. See Language Arts Handbook 7.6,
Public Speaking, and 7.7, Oral Interpretation, in your textbook, for additional
guidelines on public speaking and oral interpretation.
After presenting your folk epic, invite your listeners to ask questions about
the work.
Reflect
When you have completed your presentation, answer the following questions on a
separate sheet of paper:
1. What did you find most interesting or unusual about the work you studied?
2. Think about the presentations about different epics that you heard. What do
the epics have in common? Are their themes alike? Do they have the same
literary elements?
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Name: ____________________________________________________ Date: __________________
The Seafarer, page 61
COMPARING LITERATURE ACTIVITY
Find Points of Comparison and Contrast

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

Think of a literary work you have read that has some point of comparison with
another work you know. This similarity may appear in any literary elementfor
instance, theme, mood, figurative language, or characterization. In other ways,
the two works may be quite different. Locate copies of both works, and scan the
selections. Copy the chart below, and identify the literary elements in each work.
You may add elements to the chart. Use the completed chart to identify similarities
and differences in the elements.
Work 1
Work 2
Title and author

Genre
Theme
Mood
Figurative language
Characterization
Write, Present, and Reflect

Write an essay comparing and contrasting the two works you have chosen. Make
explicit the initial similarities you perceived, and then identify areas of contrast. See
Language Arts Handbook 4.1, The Writing Process, in your textbook, for additional
information on organizing and drafting an essay.
Read your paper in a small group. When all the group members have read their
papers, answer the following question on a separate sheet of paper: Do you think
the authors of the two works you compared would have appreciated each others
writing? Why or why not?
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Name: ____________________________________________________ Date: __________________
Bonny Barbara Allan, page 102
LITERARY FORM ACTIVITY
Experiment with Poetic Form

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

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

Write an original poem based on the story of Barbara Allan. Use any poetic style
you wish except the four-stanza ballad form in which the original is written. (See
page 100 of your textbook for features of the traditional ballad.) You need not retell
the story exactly but make clear references to events or themes in the original. In
searching for a new form, consider the following or choose a format of your own:
Tell the story in blank verse, or unrhymed iambic pentameter. (See pages
246247 for a description of iambic pentameter.)
Rewrite the ballad in rhyming couplets.
Create a free-verse version of the ballad.
Compose a sonnet based on the story. (See pages 246247 in your textbook for a
discussion of sonnet form.)
Look up any terms unfamiliar to you in the Literary Terms Handbook on page 1296
of your textbook. See pages 2021 in your textbook for a general discussion of poetry.
Stage a Poetry Reading

Participate in a class poetry reading. Because poetic language is sometimes
difficult to understand on first hearing, help your listeners by reading clearly and
expressively. See Language Arts Handbook 7.7, Oral Interpretation, on page 1289
of your textbook, for guidelines on how to present an oral interpretation of poetry.
Afterward, explain how your version differs from the original.
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Name: ____________________________________________________ Date: __________________
The Prologue, from The Canterbury Tales, page 113
LITERARY CONNECTION STUDY
The Frame Tale

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

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

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

Using your notes, practice telling your chosen story in your own words. Dont
attempt to use language from the translation you read, but keep to the spirit
solemn or lightheartedof the original story. See Language Arts Handbook
7.8, Telling a Story, on page 1289 of your textbook, for additional suggestions for
effective and entertaining storytelling.
You will also be responsible for introducing the frame tale from which your
story came. Prepare a brief description of the frame.
With your two partners, present the three works to the class and narrate the
representative stories you have chosen. After your presentation, discuss with your
listeners the similarities and differences between the frame tales.
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Name: ____________________________________________________ Date: __________________
from Everyman, page 162
ARCHETYPAL CHARACTER STUDY
Everystudent
Everyman is an archetypal character, an ordinary person who experiences the
joys, tragedies, and drudgery that are common experiences for all of us. He or she
is no hero, but surviving life with some dignity may be heroism enough. Because
Everyman is someone with whom any reader can identify, he crops up in literature
throughout the centuries. (See page 168 of your textbook for a discussion of
Everyman.)
In this activity, you will work in a group to create an Everyman for your times.
You will compose scenes for a play with this character as the protagonist to perform
for your class.
Create a Character
Imagine Everyman is a student at your school. Lets call him or her Everystudent.
What would he or she be like? What problems would Everystudent encounter in a
typical school day? How would he or she deal with these events?
You will be composing scenes for the play Everystudent (or a title of your
choice). Before you begin writing, think of appropriate experiences that your
protagonist should have. What events of American high school life help to shape
the adult of the future? What light do these events cast upon human behavior? How
would Everystudent respond?
Working in a small group, brainstorm a list of high or low points that
Everystudent would typically experience at your (or any) high school. A dropped
tray in the cafeteria? A pop quiz in calculus? The possibilities are endless.
Describe the experiences in a chart. Then explain how you believe Everystudent
might respond.
Experience
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Everystudents Response
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Develop and Write a Scene

Choose an event in the life of Everystudent that you wish to develop into a dramatic
scene. Talk your selection over with your fellow group members and make a note
of ideas that might be useful to you. Then work on your own to sketch out the
characters and action. Record your scenario and reflect on your choice below.
Setting: __________________________________________________________________________
Characters: ______________________________________________________________________
_________________________________________________________________________________
Summary of action: ________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
Why I chose to develop this scene: ____________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
When you have thought through the outline of your sketch, begin writing
dialogue for your scene. Include any stage directions the actors will need.
Remember that Everystudent is at your school (or everyschool), so keep the
speech natural and idiomatic. For more information on the elements of drama, see
pages 337339 of your textbook.
Rehearse and Perform

Print copies of your scene for the group and assign an actor for each role. As you
rehearse, listen attentively and make changes where the dialogue seems unnatural
or irrelevant. Encourage students without speaking roles to suggest improvements
in substance or style.
When your group has rehearsed all the scenes, arrange them in a logical
sequence. You may wish to include a narrator to smooth the transitions between
Everystudents experiences.
Perform your scenes from Everystudent for the class. Afterwards, discuss with
your audience Everystudents behavior and explain why you singled out these
particular events.
Reflect
separate sheet of paper.
1. Why might Everyman be such an enduring figure?
2. To what extent do you consider yourself an Everystudent? Explain
your answer.
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Name: ____________________________________________________ Date: __________________
Federigos Falcon, from The Decameron, page 211
WORLD LITERATURE PROJECT
Familiar Motifs
Motifs are themes, images, or elements of plot that recur in one or more works
of literature or art. For example, the trial or quest motif is central to many works
in the oral tradition. Romantic fiction often features the love of two men for one
woman, a motif so enduring that it is sometimes called the eternal triangle.
Federigos Falcon includes several motifs that occur in various forms
throughout world literature:
Unrequited Love. Monna Giovanna does not respond to Federigos
continual attentions.
Misspent Youth. Federigo wastes all his money in a vain attempt to attract
Monna Giovanna.
Tragic Irony. Federigo serves his falcon for Monna Giovanna to eat,
not knowing that she wants it alive to save her sons life. She eats the
bird unknowingly.
Happily Ever After. The couple marry and are happy for the rest of their days.
In this activity, you will find other examples of these motifs in world literature.
Identify Motifs
Search your memory of past reading or use the library or Internet to find other
literary works that include the motifs listed above. Record their titles and a brief
summary of the example motif you found there in the chart below. Work to make
your list truly international, searching for literary works that were not originally
written in English.
Motif
Another Example from World Literature
Unrequited love
Misspent youth
Tragic irony
Happily ever after
Share and Discuss

Share your findings with a small group. Discuss how your examples compare and
contrast. Present what you consider your best examples to your classmates. See
Language Arts Handbook 7.3, Collaborative Learning and Communication, in your
textbook, for additional guidelines for participating in group discussion.
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Name: ____________________________________________________ Date: __________________
Whoso list to hunt / With how sad steps, page 248
LITERARY FORM STUDY
The Sonnet
Whoso list to hunt and With how sad steps are both sonnets, poems of
fourteen lines written in iambic pentameter. Sonnets appear in two principal
forms determined by the patterns their rhyme schemes create. The English, or
Shakespearean, sonnet consists of four parts: three groups of four lines (quatrains)
followed by two concluding lines (a couplet). The rhyme scheme indicates this
grouping: abab cdcd efef gg. The Italian, or Petrarchan, sonnet consists of two parts: a
group of eight lines (an octave) and a concluding group of six lines (a sestet). Again,
the rhyme scheme defines these groupings: an octave of abbaabba followed by a
sestet of cdecde, cdcdcd, or cdedce. (For more on the sonnet, see pages 246247 of
your textbook.)
In both English and Italian sonnets, the form often dictates the sense. In an
English sonnet, the four quatrains generally develop an idea, and the couplet
concludes the thought. In an Italian sonnet, the octave introduces an idea or ideas,
and the sestet may reflect on or even reject the idea or ideas.
Sonnets are almost always written in iambic pentameter, a rhythmic pattern
consisting of five iambic feet, known as iambs. Each iamb consists of two syllables: an
unstressed syllable followed by a stressed syllable, as in the word surprise. A perfect
line of iambic pentameter verse will look like line 10 from Whoso list to hunt:
/
/
/
/
/
As well | as I, | may spend | his time | in vain
However, perfect examples such as this are rare. Many poets include irregularities in
their meter to stress important ideas or avoid a monotonous repetition in their rhythm.
In this exercise, you will investigate the sonnet form and compose a sonnet
of your own.
Analyze Meter
The first four lines of Whoso list to hunt are reproduced below. Read each line
and indicate its rhyme scheme. Then record the number of syllables and mark
where the stresses fall. Finally, underline Y or N to indicate whether you believe the
line to be in perfect iambic pentameter. Line 1 has been done for you.
Perfect
Iambic Pentameter
Rhyme
Syllables
11
But as for me, alas, I may no more.
_____
_____
The vain travail hath wearied me so sore
_____
_____
I am of them that farthest cometh behind.
_____
_____
/
/
/
/
/
/
Whoso list to hunt, I know where is an hind,
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Study a Sonnet
Find a sonnet that interests you. Your choice may be from any author and any
period of time. You will find sonnets in print anthologies and on Internet sites
devoted to the form. Read your sonnet carefully, looking closely at how its form
helps determine its pattern of thoughts. On the lines below, identify the sonnet and
paraphrase the poets ideas. Then reflect on how the sonnets form and thought
are interwoven.
Sonnet studied: ___________________________________________________________________
Form: ___________________________________________________________________________
Paraphrase of ideas: _______________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
Explanation of how form and thought relate: ___________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
Write a Sonnet
Now write a sonnet of your own. See Language Arts Handbook 4.1, The Writing
Process, in your textbook, for suggestions on how to gather ideas for your writing.
Use either the English or the Italian form, shaping your ideas to the structure you
have chosen. Compose the lines using iambic pentameter but feel free to vary the
rhythm. Copy your final draft below.
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
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Name: ____________________________________________________ Date: __________________
Let me not to the marriage of true minds (Sonnet 116), page 262
LITERARY CRITICISM ACTIVITY
An Authors Life and Time

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

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

Uncover and read the biographical note on page 312. Then, using library or
Internet sources, locate and read a more in-depth biographical essay on the poet
and one or two encyclopedia entries about the time and place in which he lived.
Then answer the following questions on your own paper:
1. What connections can you make between Herberts view of mans wealth
and store and choices the author made in his life? How do these connections
affect your reading of the poem?
2. What is the subject of Easter Wings? What is the tone? What do the subject
and tone of the poem suggest is Herberts chief concern in life? How does
knowing about his life help you understand this concern?
3. Considering the class divisions in Elizabethan England, what implications
did Herberts choice have? Is the theme of Easter Wings an appropriate
statement for someone who made such a choice? Explain.
Compare and Contrast

Look at your written reaction to the poem before you did research. How has
your understanding of the poem changed? What piece of information from your
research gave you the most important or surprising insight into the poem?
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Name: ____________________________________________________ Date: __________________
The Passionate Shepherd to His Love / The Nymphs Reply to the Sheherd,
page 269
A Fictional Dialogue
Although written by different authors, The Passionate Shepherd to His Love and
The Nymphs Reply to the Shepherd are meant to be read together. In fact, they
constitute a dialogue between two contrasting characters: the romantic, idealistic
shepherd and the realistic, somewhat cynical nymph. Such pairings of literary
works are unusual, but comparing characters that we encounter in fiction or poetry
and imagining what they would have to say to each other can be fun and can help
us better understand the characters and their traits.
In this activity, you will imagine and perform a conversation between two
contrasting characters from fiction.
Warm Up
Think of two characters, from two separate works of literature, who have very
different personalities or exhibit different attitudes toward life. On a separate sheet
of paper, record the names of the characters and the works of literature in which
they appear, and write a brief description of each character.
In the chart below, list three questions that you think would introduce a
lively debate between the two characters. Compose the characters replies, keeping
each response in line with your brief description of the character. Do not list
the characters names in the chart; instead, identify them as Character 1 and
Character 2.
Question
16
Character 1
Character 2
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Write and Perform a Script

Exchange charts with a partner. Read the questions and answers on your partners
chart. Write a paragraph describing each characters personality and attitudes
toward life given what you know about them from the questions and answers.
When you have both finished your reviews, compare your descriptions and
discuss the challenges of representing a characters personality and attitudes
through dialogue.
With your partner, choose one of your pairings and create a skit that reveals
the personalities and attitudes of the two characters. Your skit may be completely
fanciful and removed from the characters literary settings, but the way your
characters respond to the situation and to each other should be true to their basic
natures. When you have finished writing, decide which character each of you will
play in a presentation of the script. Identify the characters and who will play
them below:
Character 1: ____________________________________________________
Role-player: ____________________________________________________
Character 2: ____________________________________________________
Role-player: ____________________________________________________
Rehearse your performance until you are comfortable with your character and
confident in your delivery. See Language Arts Handbook 7.8, Telling a Story, in
your textbook, for additional guidelines for writing and delivering an interesting
and entertaining story.
Perform your skit for the class without revealing your characters identities.
If your skit involves a well-known literary character, ask your audience to guess
who you were playing. If they have trouble guessing, ask someone to describe the
personality and attitudes that were exhibited by the character, and then invite the
audience to try again. If they still have trouble, try giving a hint about the literary
work from which the character is drawn.
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Name: ____________________________________________________ Date: __________________
Eves Apology in Defense of Women, from Salve Deus Rex Judaeorum, page 314
LITERARY RESPONSE PROJECT
Responding as a Group
As students of literature, you are constantly being asked to respond to your reading.
Generally you are asked to respond as an individual to specific questions or write
critical essays. When the selection under consideration is challenging in language
or contentlike Eves Apology in Defense of Women, by Amelia Lanieran
individual response can be particularly limiting. One way to enhance your
appreciation of literature is to pool your perceptions with a group of fellow readers.
In this activity, you will work cooperatively with a group to study and explain a
challenging piece of literature.
Select
Choose a short poem or passage of prose written during the period covered by
Unit 3 of your textbook (the Renaissance, 14851625). There is a wealth of material
to choose from. Consider selecting an essay by Francis Bacon; a lyric by John
Donne; a sonnet by William Shakespeare; or another excerpt from Laniers Salve
Deus Rex Judaeorum. Make three copies of your selection and bring them to class.
Respond
Form a group with two other students and give each student a copy of your
selection. You will now have three unfamiliar pieces of literature in front of you.
Agree on the same selection to read first. Read it silently twice. Then record your
initial responses about the following items: your overall impression; a question that
you would like answered; a passage that puzzled you (and what you think it means);
and a passage that struck you (and why you chose it)
Exchange observations about the selection with your partners. Help each
other resolve your questions and appreciate aspects of the work that you may have
overlooked. Repeat this procedure for the other two works.
Explicate
Still working with your partners, develop an oral explication (analysis) of the
selection your group most successfully explored. Agree on aspects of the chosen
work that you wish to cover, and divide the task of presenting these areas among
the three of you. You might wish to imitate Anniina Jokinens step-by-step
explication of John Donnes Death Be Not Proud, on page 300 of your textbook.
See Language Arts Handbook 7.6, Public Speaking, in your textbook, for additional
guidelines about writing and delivering a speech.
Distribute copies of the selection to your classmates and give them time to read
it before presenting your explication. Encourage your listeners to ask questions
after your presentation.
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Name: ____________________________________________________ Date: __________________
The Tragedy of Macbeth, page 340
HISTORICAL CONTEXT PROJECT
Witchcraft in Renaissance Britain

King James VI of Scotland believed passionately in the existence of witchcraft
and the persecution of its alleged practitioners. He even published a book on the
subject, titled Daemonology, in 1597. Six years later he ascended the throne of a
united England and Scotland as King James I, successor to Queen Elizabeth. It was
likely King James whom Shakespeare had in mind when he made the Werd Sisters
such a prominent presence in The Tragedy of Macbeth. The king would have been
flattered to see his area of expertise featured by Britains greatest playwright, and
Shakespeares acting company might have benefited from such royal approval.
Approaching the subject from a modern, academic point of view, one must
wonder: What was the reality of witchcraft in Renaissance England and Scotland?
What led people to suspect and accuse their neighbors of practicing beliefs and
actions that were punishable by death? In this project, you will research the history
of witch trials in Renaissance Britain and write a fictitious first-person narrative set
in sixteenth-century Scotland.
Get Started
Research historical attitudes, beliefs, and superstitions about witchcraft in
sixteenth- and seventeenth-century Britain. Search your library or reputable
online sources, such as educational or government websites. Look for trends in
the social, political, economic, and/or medical climates that typically surrounded
accusations of witchcraft. Also note any gender, age, or economic similarities
between the accused.
Create a Scenario
Use your research to create an account of a fictitious accusation of witchcraft, set in
sixteenth- or seventeenth-century Britain, that you feel to be historically accurate.
Record information about your scenario in the following chart.
Background
When and where is the action
taking place?
Who is the narrator?
What has happened to arouse
suspicion?
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Background
Who is making accusations?
Who is accused?
What do local people feel
about the situation?
Reconstruct a Witchcraft Trial

Use your notes to create an account of a witch trial based on your fictitious
scenario. Record notes for your outline in a chart like the one below.
Trial
Witnesses
Principal evidence
High point of proceedings
Verdict and consequences
Write
Write your account of the situation and the trial that you have outlined. Remember
that you will be writing in the first person, telling the story of someone who
witnessed a witch hunt and trial. While you wont be able to re-create perfectly the
language of the day, try to keep your narrators voice and attitude in keeping with
the period. Make sure that the details of setting and incident are in accordance with
your research.
Present
Read your narrative to the class. If you have included passages of direct speech,
you might consider a dramatic reading of the action, with classmates playing the
roles of characters in your account. See Language Arts Handbook 7.8, Telling a
Story, on page 1289 of your textbook, for guidelines for delivering a narrative in an
entertaining way.
Reflect
1. Why might belief in witchcraft have persisted well into the
seventeenth century?
2. Can you think of situations today when the same spirit that inspired witch
hunts might re-emerge?
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Name: ____________________________________________________ Date: __________________
from The Analects, page 440
WORLD LITERATURE STUDY
Studies in Leadership
In The Analects, Confucius wrote at length about the qualities of a great leader. Two
thousand years later, during the Italian Renaissance, a European thinker wrote his
own memorable ideas on leadership. Niccol Machiavellis conclusionsexpressed
in The Princewere very different from those of Confucius.
In this lesson, you will examine and compare the political philosophies of
Confucius and Machiavelli. You will work with a partner to stage a debate on the
qualities of a great leader.
Study the Thinkers

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

Get together with a partner and flip a coin to determine who will represent
Confucius and who will represent Machiavelli. Then stage a discussion answering
the question, What are the qualities of a great leader? Adopt the persona of
the thinker you are portraying. Prepare note cards with the main arguments
your thinker would make, and any supporting details. Try to anticipate any
counterarguments your opponent may use.
After your discussion, remain in character to take questions from your
audience. See Language Arts Handbook 7.9, Participating in a Debate, in your
textbook, for additional information about debate-style discussions.
Reflect
When you have completed your discussion, answer the following questions on a
separate sheet of paper: How would you summarize the fundamental difference
between the political philosophies of Confucius and Machiavelli? How would you
assess the influence of these two political philosophers on modern world leaders?
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Name: ____________________________________________________ Date: __________________
from The Tragical History of Doctor Faustus, page 443
LITERARY CONNECTION ACTIVITY
Genesis and the Faustian Bargain

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

The sacred texts of the Abrahamic faiths (Judaism, Christianity, and Islam) each tell
the story of Adam and Eve, whom many followers of these faiths have traditionally
considered to be the first people. The most prominent translation of one of these
sacred texts is the King James Bible. Though this translation was completed about
twenty years after Marlowe wrote The Tragical History of Doctor Faustus, the
language of the two texts will share a similar sound. Locate a copy of the King James
Bible, either online or in print, and read the Book of Genesis, chapters 2 and 3.
Then respond to the following questions on a separate sheet of paper:
Who are Adam and Eve, and what is their sin? What is Fausts sin?
What are the parallels between Fausts situation and that of Adam and Eve?
What are the differences in their situations?
Was Faust wrong to desire knowledge?
Why was the Tree of Knowledge forbidden?
Who acts as provider of knowledge in each selection? What is his or her
motivation behind providing access to knowledge?
To what extent is knowledge a dangerous thing?
How can one assess when knowledge is dangerous?
Discuss
Form small groups and discuss your thoughts about the questions listed above.
Conclude your discussion by composing a statement about human knowledge with
which you can all agree. Share your statement with the rest of the class.
Reflect
Indicate whether you agree or disagree with the following statement. Rank the
statement on a scale of 1 to 10, with 1 representing absolutely not and 10
representing very true.
The theme of Faust holds an important lesson for humanity today.
Identify how you ranked the statement and explain your reasons in at least one
paragraph on a separate sheet of paper.
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Name: ____________________________________________________ Date: __________________
Monologues and Soliloquies from Shakespeares Plays, page 449
Monologues and Soliloquies

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

With the help of your teacher or a librarian, select a well-known play from any
age or country and by any author except Shakespeare. Read the play and find a
monologue or soliloquy that strikes you as powerful or interesting. Make a copy of
this passage, and practice reading it with expression. Identify your passage below.
Play and author: ___________________________________________________________________
Character speaking: ________________________________________________________________
Context of soliloquy or monologue chosen: _____________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
Recite
Without any introduction, recite your passage to your classmates. See the Language
Arts Handbook 7.7, Oral Interpretation, on page 1289 of your textbook, for
additional tips on how to deliver a dramatic reading of a literary work. Invite your
classmates to ask yes/no questions regarding the context of your passage. After
taking ten questions, challenge your audience to guess the situation in which your
soliloquy or monologue was delivered in the original play. Finally, identify the play
and explain the exact circumstances in which your speech was delivered.
Reflect
When you have completed your presentation, answer the following questions on
a separate sheet of paper: What was the significance of the passage you recited in
the context of the play from which it came? How does your chosen monologue
or soliloquy compare to those authored by Shakespeare? Of the Shakespearean
monologues and soliloquies and those of your chosen play, which speech(es) did
you find most emotionally resonant?
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Name: ____________________________________________________ Date: __________________
How soon hath Time (Sonnet VII), page 492
PRIMARY SOURCE STUDY
Literature as a Primary Source

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

Locate another poem by Milton, such as Ad Patrem or Elegia Prima, or Charles
Dickenss novel David Copperfield. Read or analyze the poem or several chapters
from the novel. On your own paper, identify the work and author. List elements
of the selection that are likely to be primary source material about the author or
conditions of the time period. Then identify aspects of the work that you consider
questionable as primary source material.
Present
Present your ideas to your classmates in the form of an extemporaneous expository
speech. See Language Arts Handbook 7.6, in your textbook, for guidelines on
writing and delivering a speech. Identify and describe the work of literature you
have studied. Explain how this work might serve as a primary source. What factual
information could you confidently extract from it? Identify your reservations as
well. Where might the authors imagination hinder your pursuit of facts? To the
best of your ability, answer questions your audience may have about your selection
and its function as a primary source.
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Name: ____________________________________________________ Date: __________________
from Oroonoko, page 562
CULTURAL CONNECTION STUDY
Kingdoms of West Africa

The novel Oroonoko, by Aphra Behn, tells the tragic story of an African prince who has
been enslaved on a plantation in Suriname, then an English colony in South America.
Although the kingdom of the prince is not named in the story, it would likely have
been located in West Africa. Most enslaved Africans in Suriname came from societies
in that part of the continent. In this activity, you will research the history of a West
African kingdom and deliver your findings in a multimedia presentation.
Get Started
Search your library or the Internet for brief histories of the following West African
kingdoms: Ghana, Benin, Songhai, Mali, and Hausa. After completing this
introductory search, choose the culture you find most interesting to explore in your
multimedia presentation.
Research
Exploring every aspect of your selected society would result in an overwhelming,
lengthy presentation. Instead of trying to include a little information on as many topics
as possible, focus on communicating thorough, detailed information on just one topic.
Research one of the topics below for the West African kingdom of your choice:
government and politics
family structure
art, literature, and music
notable leaders
gender roles
relationship(s) to
economy
location and lands
neighboring
religious beliefs
food and agriculture
communities
Search history and reference selections in your library or reputable websites for
your sources. As you explore your topic, look for visual, audio, and video images
that will enhance the audiences understanding. Copy or electronically save maps,
drawings, photographs, or paintings that will bring the culture alive. If appropriate,
gather recordings of your chosen kingdoms music or spoken language, or video
that offers a compelling view of your subject.
Write and Present

Present your findings using appropriate media. See Language Arts Handbook
7.10, in your textbook, for suggestions about effectively using media. Organize
your research and visual/audio/video elements in a logical manner. On note cards,
outline any text you will present and include cues for the accompanying media.
Rather than writing complete sentences on your cards, use paraphrasing and key
words to help yourself speak extemporaneously.
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Name: ____________________________________________________ Date: __________________
from The Diary of Samuel Pepys, page 571 / from A Journal of the Plague Year,
page 579
LITERARY FORM PROJECT
The Diary
There is no one way of writing a diary, in part because diarists themselves are a
diverse crowd. Presidents, painters, actors, musicians, scientists, prisonerseven
authorshave all tried their hand at writing diaries. Their purposes differ; so
do their styles, experiences, and powers of observation. What diarists all have in
common, however, is a desire to keep a record of their own lives on a daily, or at
least regular, basis. In this activity, you will compare the works of two diarists and
compose an entry imitating the style of one of them.
Choose Your Diarists

First select works by two diarists whose birth dates are at least fifty years apart
and whose careers were different. (In other words, for example, do not choose
diaries written by two politicians or by two people born in the first half of the
twentieth century.) Asking your librarian for recommendations is a good way to
start your search for diaries. Another is to hunt for diarists on the Internet and
see what familiar or interesting names you discover. Many older works are freely
available online.
Read enough of each diary to become familiar with the writers style; expect to
read around fifty pages of each work. Identify the diarists and the excerpts you read
below. Then briefly summarize your impressions of the works.
1. Diarist: ______________________________________________________________________
Brief background of author: ______________________________________________________
_____________________________________________________________________________
Excerpt read: __________________________________________________________________
Overall impression: _____________________________________________________________
_____________________________________________________________________________
2. Diarist: ______________________________________________________________________
Brief background of author: ______________________________________________________
_____________________________________________________________________________
Excerpt read: __________________________________________________________________
Overall impression: _____________________________________________________________
_____________________________________________________________________________
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Identify your diarists in the chart below and answer the questions for each of them.
Question
Diarist 1:
Diarist 2:
What is the diarists

purpose?
How can you distinguish

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

After presenting your diary entry, answer the following questions:
1. How would you define the difference between an Internet blog and a diary?
__________________________________________________________________________
__________________________________________________________________________
2. Would either of the diarists you studied have been successful bloggers?
Explain your answer.
__________________________________________________________________________
__________________________________________________________________________
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Name: ____________________________________________________ Date: __________________
from The Diary of Fanny Burney, page 596
INFORMATIONAL TEXT ACTIVITY
Answering Questions Asked by a Text

Like most diarists, Fanny Burney made no effort to annotate her private writings.
After all, she was writing largely for her own amusement. It is no wonder that she
casually refers to people, customs, and events without any explanation. Todays high
school students are far removed from the life of an eighteenth-century Englishwoman,
however, and will need some assistance in understanding it. Fortunately, many
informational articles and websites provide this background material.
In this activity, you will research some of the references in Fanny Burneys
diary that might puzzle a modern reader. Then you will work in small groups to
write a collection of informative articles on these topics.
Research
Form a group with two or three other students and distribute the following topics
among yourselves. Search for articles from Internet sites, periodicals, and journals
that help answer the questions posed. Be sure to look for reliable websites. Your
librarian can refer you to indexes and databases for periodicals and journals. Take
notes on your research, and document the sources of the information. Copy or
print relevant images (such as paintings, drawings, or diagrams) to include with the
articles you will produce.
Dr. Johnson. Who was this man who was the center of attention at gatherings?
Ladies Clothing. Dr. Johnson seemed obsessed with what women were wearing.
What did English women wear in the late eighteenth century?
Fanny Burneys Book. What does Fanny mean when she refers to my honoured
book? What book would that have been and why was it so special?
Marriage. Fanny was twenty-six years old. Why were people so interested in
finding her a husband? What if a woman in her society didnt marry? What if
she did?
Sir Joshua Reynolds. Lady Montagu proposed that Fanny marry Sir Joshua
Reynolds. Fanny was amazed. Who was this man?
Reading Habits. Why was Fanny generally embarrassed to be seen with a book?
What was the status of reading in her day? What sort of books did women read?
Mrs. Thrale. How did Mrs. Thale become a hostess of great reputation?
Write Articles
Use your notes to write an expository article on each topic you researched. Each
article should be at least one half-page in length. Using a computer program if
possible, combine the articles written by your group and lay them out as they would
appear in a scholarly magazine or journal. Include relevant visual images and write
a caption for each. Also include a bibliography for each article. (See Language Arts
Handbook 5.6, in your textbook, for information on how to correctly document
your sources.) Hand in your notes and articles to the teacher.
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Name: ____________________________________________________ Date: __________________
Kubla Khan, page 687
HISTORICAL CONTEXT ACTIVITY
Reinventing the Past

Watching an old western movie, you might observe that the cowboys look just
like Hollywood actors straight out of the 1950s or 1960s. Decades from now when
we watch period films being made today, theyll probably reflect the twenty-first
century more clearly than the era they attempt to recreate. Reconstructing the
past in a work of art is notoriously difficult. The present keeps getting in the way!
This phenomenon was especially evident during the Romantic Age. Writers were
fascinated by history but invariably put a Romantic spin on everything they wrote.
Samuel Taylor Coleridge drowsed off over a history book one day and woke
up with a complete poem in his head. He never completed that poem, but in the
54 lines he composed, Coleridge created a case study in Romanticism. Kubla
Khan sheds little light on ancient China but a great deal on the English Romantic
movement. In this activity, you will explore how Coleridge reinvented ancient
China and made it a world of his own creation.
Get Started
Reread Kubla Khan on pages 688690 of your textbook. Then explain how
Coleridge includes the following elements of Romanticism in Kubla Khan.
Include a quotation to illustrate your observation.
A fascination with nature: __________________________________________________________
_________________________________________________________________________________
The triumph of emotion over reason: _________________________________________________
_________________________________________________________________________________
The power of the creative imagination: ________________________________________________
_________________________________________________________________________________
The individual as hero: _____________________________________________________________
_________________________________________________________________________________
Write and Share an Essay

Write an essay in which you use Coleridges Kubla Khan to explain the principal
elements of Romanticism. Use your notes from above as a starting point. Support
and illustrate your ideas with evidence and quotations from the poem. Refer to
Language Arts Handbook 4.1, The Writing Process, on page 1267 of your textbook,
for guidelines on prewriting, drafting, and revising your essay. When you have
completed a final version, share your paper by reading it to a small group or your
class. Then discuss your responses to the poem as a group.
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Name: ____________________________________________________ Date: __________________
She Walks in Beauty, page 718
AUTHORS STYLE STUDY
Analyzing Byrons Style

She Walks in Beauty is a lyric poem that has never gone out-of-date. It has
remained a standard selection in anthologies of great poetry since Byrons day.
What makes it a timeless work? Not the subject matter. Many poets have written
about beautiful women with less success. Clearly, there is something in Byrons
writing that elevates his sentiments.
In this lesson, you will analyze Byrons poetic style and find another poet
whose writing has similarities to that of Byron.
Get Started
Reread She Walks in Beauty on page 719 of your textbook. In the chart below,
record details and examples about the poetic elements that characterize Byrons
She Walks in Beauty. To review the form of lyric poetry, see page 650 in
your textbook.
Element
Examples
Figurative language
Imagery
Sound devices
Parallelism
On the lines below, describe Byrons use of rhyme and rhythm:

Use of rhyme: ____________________________________________________________________
_________________________________________________________________________________
Use of rhythm: ____________________________________________________________________
_________________________________________________________________________________
Compare and Present

Find a lyric poem by another author whose poem you feel shares some of Byrons
stylistic qualities. Make a copy of the poem and jot down your observations about
its style compared with Byrons style.
Read your selection to the class and point out the ways in which the poets
styles are similar. Refer to Language Arts Handbook 7.7 for suggestions on giving
an oral interpretation of a literary work.
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Name: ____________________________________________________ Date: __________________
The Lorelei, page 757
WORLD HISTORY ACTIVITY
History Tour of the Rhine

It is along the Rhine River that the Lorelei of the legend The Lorelei supposedly
lures sailors to their deaths. The river has long been important to the economies
and societies of European nations. It flows over eight hundred miles from
Switzerland to Holland, a course rich in associations with human history.
In this activity, you will role-play a Rhine River tour guide describing historic
sites on a cruise boat full of American tourists.
Get Started
Research the history of the Rhine River using online or print resources. In the
chart below, identify points of historical interest along the river and briefly describe
their importance.
Point of Interest on the Rhine
Description
A city
A castle
An area of importance in military

history
A bridge
A geographical feature (e.g.,

mountains, fertile plains)
Research and Present

Choose one of the points of interest you identified in the chart. Research it in depth
and develop an informative oral presentation for the site as if you were the official
guide aboard a Rhine River cruise. Assume that your listeners know nothing of
the history of the site. See Language Arts Handbook 7.6, Public Speaking, in your
textbook for guidelines on creating an effective oral presentation. Find engaging
ways to present your information. For example, you might catch listeners interest
with your enthusiastic delivery, dramatic pauses, and fascinating facts.
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Name: ____________________________________________________ Date: __________________
from Introduction to Frankenstein, page 759
LITERARY CONTEXT STUDY
Gothic Fiction
When Mary Shelley and her friends amused themselves by writing scary stories in
the rainy summer of 1816, they werent breaking new ground. Gothic fiction had
been frightening readers for decades in England.
In this assignment, you will learn more about this enduring genre and try
your hand at a traditional Gothic story yourself. You will then present your story
to your classmates.
Get Started
Although Gothic novels generally take place in the Middle Ages, many of their
components are familiar to the reader of old-fashioned ghost stories. The settings
are often grand and mysterious:
crumbling castles
forbidding mansions
crypts or graveyards
The characters typically include a frightening array of humans and nonhumans:
tyrants
maniacs
distressed maidens
ghosts
mysterious, silent heroes
demons or monsters
wicked aristocrats
magicians
femmes fatales
The atmosphere is established by a mixture of disturbing elements:
darkness
decay
madness
imprisonment
cruelty
isolation
secrets
curses
terror
Get Acquainted with the Genre

Familiarize yourself with a Gothic novel that Mary Shelley might have read. Choose
a work published before 1816 (the summer Frankenstein was written). You may
choose one of the following Gothic classics, all of which are available online:
The Castle of Otranto, Horace Walpole, 1764
The Mysteries of Udolpho, Ann Radcliffe, 1794
Caleb Williams, William Godwin, 1794 (The author was Mary Shelleys father.)
The Monk, Matthew Gregory Lewis, 1796
Start at Chapter 1 or plunge into the middle and read consecutively for one
hourmore if you are hooked. Then identify the book you read, quote a typical
passage, and describe its typically Gothic elements.
Book selected: ____________________________________________________________________
Passage: _________________________________________________________________________
_________________________________________________________________________________
Gothic elements: __________________________________________________________________
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Prepare an Outline
Pretend that you were part of Mary Shelleys party in the summer of 1816. Use
the chart to outline a Gothic story you might have composed in response to Lord
Byrons challenge.
Protagonist: typically a
young, innocent victim
Setting: a place that is eerie,

old, haunted, or decaying; a
strange or foreign part of the
world; a distant era
Danger: often involving
persecution, haunting, a curse,
a secret, or insanity
Mounting tension: how
things get worse instead of
better for the protagonist
Climax: the point at which
the reader screams
Resolution: what happens

to your protagonistescape
or tragedy
Write and Present a Story

Now write the story you outlined above. If you wish, you may work with a coauthor
whose ideas and style of horror harmonize with yours. You might assign episodes
or write alternately, handing sections to your partner as you finish them. Whether
writing solo or as a team, do your best to imitate the style of the period.
When you have finished writing your story, read it aloud to your classmates.
For suggestions on reading a narrative aloud, see Language Arts Handbook 7.7,
Oral Interpretation, on page 1289 of your textbook.
Reflect
After your reading, evaluate your presentation by answering the
following questions.
1. What elements of your story held your listeners interest? Explain why.
2. Would your story have frightened Mary Shelley or Lord Byron?
Explain why.
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Name: ____________________________________________________ Date: __________________
from Great Expectations, page 794
LITERARY FORM STUDY
Characters in a Novel
A novel, such as Great Expectations, is a long work of fiction. A novel often has
many characters and an involved plot. The chapter from Great Expectations in your
textbook introduces two memorable characters: the proud Estella and the bitter
Miss Havisham. Dickens brought these characters to life by using both direct and
indirect characterization. Direct characterization describes characters physical
features, dress, and personality. Indirect characterization reports what characters
say, do, or think or what others say or think about them.
In this activity, you will identify examples of characterization in Chapter 8 of
Great Expectations in your textbook. Then you will select a character and traits at
random and write a chapter entry introducing the characters for a novel.
Get Started
Read the chapter from Great Expectations in your textbook. Identify examples of
characterization in the chapter. Write the examples on your paper.
Then, working in a small group, brainstorm a list of traits that a character in
a contemporary novel might have. Your list might include characteristics such as
irritability, conceit, good nature, and formality. Write each characteristic on a card.
Then list people who might appear in a contemporary novel. Some possibilities
include a teacher, a friends sister, and a scientist. Also make a card for each person.
Place the two sets of cards facedown on a table, and select one person card and
three trait cards. The character and trait cards you draw will frame the character
you will create. Your assignment is to write a short chapter entry for a novel in
which the character is introduced.
Write, Publish, and Present a Scene

Think of a situation that would effectively introduce your fictional character. What
details and techniques can you use to reveal his or her personality? Make notes
about your ideas.
Now write a draft of your chapter entry for a novel, making sure to include
both direct and indirect characterization. You can use Dickenss chapter as a model
for introducing characters.
Share your draft with your group members and ask for feedback. Implement
suggestions that you feel improve the entry. See Language Arts Handbook 4.1, The
Writing Process, in your textbook, for suggestions on prewriting, drafting, and
revising a written work.
When you have completed a final draft, read your chapter entry to your
classmates. Invite them to identify the character traits illustrated in your scene.
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Name: ____________________________________________________ Date: __________________
The Lagoon, page 850
THEME STUDY
Implied Themes
In most works of fiction, the themes, or central messages, are implied rather than
stated directly. This means that the reader must infer perceptions about life from
the unraveling of a plot, a characters behavior, or even descriptions of the natural
world. In Joseph Conrads The Lagoon, for example, the dense and mysterious
forest surrounding Arsats frail house suggests the isolation of human existence.
We live in a mysterious, threatening world, where death is the only certainty, the
setting seems to say to us. Other themes in The Lagoon relate more closely to the
story of Arsats flight into exile with his beloved Diamelen. Here Conrad implies a
number of ideas that become clear upon careful observation and thought.
In this activity, you will investigate implied themes in The Lagoon and
outline a story of your own based on one of them.
Get Started
The following statements represent themes that can be inferred from The
Lagoon. Working with a partner, find evidence from the story to support each
theme. Remember that themes are always open to personal interpretation. Feel free
to alter the wording of any of the statements below to make them conform to your
own reading of the story.
1. We must live with the consequences of the decisions we make.
Evidence: _____________________________________________________________________
_____________________________________________________________________________
2. There is no escaping the conflict and suffering of the human condition.
Evidence: _____________________________________________________________________
_____________________________________________________________________________
3. Romantic love can blind one to reality.
Evidence: _____________________________________________________________________
_____________________________________________________________________________
4. In not doing our duty, we pay a terrible price.
Evidence: _____________________________________________________________________
_____________________________________________________________________________
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Choose a Theme and Outline a Story

Still working with your partner, choose one of the themes that you explored on the
previous page or another theme that you have discerned in The Lagoon. Think
about how it applies to your own experiences or observations about life.
Let your imagination play with your theme to suggest an original story. Use the
chart below to collect notes for this story implying the theme. Keep in mind that
you will not be stating the theme directly, and that readers will need to be able to
discover the theme from the elements that you develop in the story. Be careful not
to name your theme in this chart.
Setting
Characters
Developing
Conflict
Climax
Resolution
Discuss and Write

Share your story plan with a partner. Ask for feedback about the plan. Does your
partner have any suggestions for improving the plan? Use the feedback you receive
to revise your plan, and then write your story.
Ask your partner to assess the story. Does the story follow the story plan?
Is your partner able to infer a theme? Is the theme he or she infers a theme that
you intended for the story? Does your partner have suggestions for improving
the story? Revise and proofread your story, and submit it with your chart to
your teacher.
Extend Your Understanding

Answer the following questions on a separate sheet of paper.
1. In your opinion, what was the principal theme of The Lagoon? Explain.
2. Works of art can mean different things to different people. Is there any single
correct interpretation? Does it make a difference whether the work of art is a
musical composition, a visual creation, or a piece of writing? Explain.
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Name: ____________________________________________________ Date: __________________
The Lady of Shalott, page 873
ART CONNECTION PROJECT
Pre-Raphaelite Painting
The painting of the Lady of Shalott reproduced on page 874 of your textbook
belongs to a unique school of art that was in its time both forward- and backwardlooking. In the mid-nineteenth century, a group of young artists and critics rocked
the conservative English art establishment when they formed the Pre-Raphaelite
Brotherhood. Led by painters Dante Gabriel Rossetti, William Holman Hunt,
and John Everett Millais, these rebellious artists insisted that painting had gone
astray in the Renaissance. The purest art, they believed, was to be found in the days
before the Italian master Raphael (14831520). Although the Brotherhood did
not remain together for long, its influence in England continued throughout the
century. Besides the three painters listed above, others influenced by the movement
included Ford Madox Brown, Edward Burne-Jones, and John William Waterhouse.
In this activity, you will investigate paintings belonging to the Pre-Raphaelite
movement of the nineteenth century.
Get Started
The Pre-Raphaelite style of painting cannot easily be defined, but the artists
associated with the movement focused on the following themes:
the spiritual power of nature
medieval history
biblical scenes
realistic detail
idealized physical beauty
Read more on the topic of Pre-Raphaelite artists on pages 421 and 876 of
your textbook.
Study a Painting
One famous Pre-Raphaelite work is Ophelia, painted by John Everett Millais in
18511852. Find a copy of this painting online or in a published collection of fine
art prints. Study the work carefully and answer the following questions:
1. What do you find most striking about Ophelia?
_____________________________________________________________________________
2. How would you describe the mood of this painting, and how does Millais
create this mood?
_____________________________________________________________________________
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3. If you know the story this painting tells, briefly describe it. If not, guess
what has happened.
_____________________________________________________________________________
4. What qualities might classify Ophelia as a Pre-Raphaelite work?
_____________________________________________________________________________
Survey Pre-Raphaelite Works

Find Pre-Raphaelite paintings in a book or online. Choose a painting that interests
you by each of the artists listed in the chart below. Use the chart to record the title
of each painting and a brief description of what struck you or interested you about
the work. Along with the title, include information that will help you find the
painting again later.
Artist
Painting
Impression
Dante Gabriel Rossetti
William Holman Hunt
John Everett Millais
Ford Madox Brown
Edward Burne-Jones
John William Waterhouse
Write, Publish, and Present

Choose the work from your chart that you find most interesting and either
photocopy it from a book or print it from an electronic file. Write a paragraph
or two about the painting you chose. Describe the work and explain what causes
you to admire it. See Language Arts Handbook 4.1, The Writing Process, in your
textbook, for guidance in prewriting, drafting, and revising your writing.
When you have finalized your description, print it out and attach it to the
copy of the artwork. Include your contribution in a classroom collection of PreRaphaelite paintings. Be prepared to describe the qualities of your chosen painting
and explain your choice.
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Name: ____________________________________________________ Date: __________________
When I Was One-and-Twenty, page 902
MUSIC CONNECTION ACTIVITY
Music and Poetry

England experienced a musical renaissance in the early twentieth century. After
two hundred years of largely uninspired achievement, a new generation of English
composers discovered a unique, fresh voice. The young English composers who
began emerging in the late nineteenth century wrote in many styles, but they were
particularly drawn to the art song for solo voice and piano. In many of these
songs, they set to music the poems of great English poets of the nineteenth and
twentieth centuries. They were especially drawn to the simple, moving lyrics of
A. E. Housman (author of When I Was One-and-Twenty), which seemed
intended for musical settings.
Among the composers of art songs, the following are still widely performed
and recorded:
George Butterworth
Ralph Vaughn Williams
Ivor Gurney
Gerald Finzi
John Ireland
Benjamin Britten
Peter Warlock
Herbert Howells
Roger Quilter
In this activity, you will listen to art songs from the English musical renaissance
and study how music can enhance poetry.
Get Started
Look up the lives and works of the composers above or others of your choice from
the same period. Investigate their musical settings of poetry, and choose songs that
are critically acclaimed or that sound interesting to you. Using CDs or downloads,
listen to several of these art songs. Use the chart to identify five songs you liked and
to record your initial reactions to them.
Composer
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Song and Poet
Impression
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Analyze an Art Song

Of the songs you listed above, choose the one that you find most satisfying or
interesting. Find the lyrics to this song in a book or online, and make a copy for
yourself. Listen to the song you chose several times, both with your eyes shut and
while following the words. See Language Arts Handbook 7.2, Listening Skills,
in your textbook, for suggestions to sharpen your capacity for critical listening.
Then reflect on your growing familiarity with the composition by answering the
following questions:
1. How important are the words to your appreciation of this song? Explain.
_____________________________________________________________________________
_____________________________________________________________________________
2. How does the musical setting reflect or enhance the text?
_____________________________________________________________________________
_____________________________________________________________________________
3. How would you describe this song to someone who hasnt heard it?
_____________________________________________________________________________
_____________________________________________________________________________
4. How has listening to the song several times affected your thoughts about it?
_____________________________________________________________________________
_____________________________________________________________________________
5. What do you like most about the song?
_____________________________________________________________________________
_____________________________________________________________________________
Share a Song
Distribute copies of the words of your song to your classmates and give them time
to read the lyrics. Then play a recording of the song. Encourage initial responses
from your listeners before playing the song a second time and explaining your own
impressions. Point out aspects of the composition that you find striking or moving.
You might want to play excerpts to illustrate your points. Compare the art song
with other mediums of expression, and describe its strengths and weaknesses. See
Language Arts Handbook 7.1, Verbal and Nonverbal Communication, and 7.6,
Public Speaking, for help in communicating your ideas and feelings effectively.
Reflect
Answer the following questions on a separate sheet of paper:
1. How important to you are the lyrics to a song? Explain.
2. How would you compare the experience of listening to art songs with the
experience of listening to the popular vocal music of today?
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Name: ____________________________________________________ Date: __________________
The Rising of the Moon, page 934
PRIMARY SOURCE PROJECT
Theater Reviews
The Rising of the Moon was first produced at the Abbey Theatre in Dublin in 1907.
In the Primary Source Connection on page 943 of your textbook, the author Lady
Augusta Gregory coauthored with William Butler Yeats a solicitation letter to
raise funds for the first Irish national theater. Now supported in part by the Irish
government, the Abbey and its smaller cousin the Peacock are still going strong.
Productions of plays at these two venues are regularly reviewed by the major Irish
and English newspapers.
These reviews constitute important primary sources for theater historians of the
future. A play review is considered a primary source if the writer was an eyewitness
to the performance and is critiquing the play as performed. The person watching
the play (experiencing the performance) is the primary source of information. In
this project, you will survey reviews of a recent production at the Abbey or Peacock
theatres and present a summary of these critical opinions to your classmates.
Get Started
Reviews of dramatic productions of the Abbey Theatre and Peacock Theatre in
Dublin remain available online for up to a year. Locate listed reviews for recent
productions of these famous Irish theaters by entering key phrases Abbey Theatre or
Peacock Theatre and dramatic reviews into a search engine. When you have located a
list of reviews (sorted by title) for productions at the theaters, select one production
and read at least three reviews of it. Fill out information in a chart like the one below.
Play Reviewed:
Author:
Paper and Reviewer
Summary of Reviewers Opinion
Present
Give a brief oral presentation summarizing your findings for the class. Refer to
Language Arts Handbook 7.6, Public Speaking, in your textbook, for suggestions
on delivering a presentation effectively. Begin with a synopsis of the plot of the play.
(In most cases this information will be provided by the reviewer.) Then sum up the
reviewers critical opinions, making sure to identify both the newspapers and the
reviewers. Conclude with an evaluation of the production, based on the primary
sources that you consulted. Would you have enjoyed this evening at the theater?
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Name: ____________________________________________________ Date: __________________
from A Room of Ones Own, page 999
LITERARY CRITICISM ACTIVITY
A Womans Voice
It is only in the last century that women have achieved recognition as equal
contributors to the field of literature. During previous centuries, social prejudice,
lack of education, and the heavy burden of domestic work had limited literary
opportunities for most women. Those female voices that were heard received little
encouragement from the male-dominated literary establishment. In fact, a woman
writer was often seen more as a novelty than a worthy contributor to literature. Yet
remarkable women did make themselves heard. Several of them are represented in
your textbook.
In this lesson, you will review some of these selections by women writers
and interpret the voices of their authors by analyzing how gender affected their
writing. You will participate in a group discussion and write a constructed response
on this topic.
Analyze a Womans Voice

Reread the selections from your textbook listed below. Then write brief
observations or questions on how gender shapes the authors viewpoint and tone
and how a repressive society may have affected the character of the narrator or
protagonist. For more information on these elements, see Understanding Literary
Criticism: Feminist-Gender Criticism, on pages 10041005 of your textbook.
1. from The Book of Margery Kempe, page 159
Authors viewpoint and tone: _____________________________________________________
_____________________________________________________________________________
Character and repression: ________________________________________________________
_____________________________________________________________________________
2. Eves Apology in Defense of Women, page 314
_____________________________________________________________________________
_____________________________________________________________________________
3. To All Writing Ladies, page 559
_____________________________________________________________________________
_____________________________________________________________________________
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4. from Oroonoko, page 562

_____________________________________________________________________________
_____________________________________________________________________________
5. from The Diary of Fanny Burney, page 596
_____________________________________________________________________________
_____________________________________________________________________________
6. from Introduction to Frankenstein, page 759
_____________________________________________________________________________
_____________________________________________________________________________
7. from Jane Eyre, page 805
_____________________________________________________________________________
_____________________________________________________________________________
8. Promises Like Pie-Crust, page 912
_____________________________________________________________________________
_____________________________________________________________________________
Compare, Discuss, and Reflect

Share your thoughts about these selections in a small group. Discuss with the class
the variety of feminist voices that you detected and the changing status of women
that you discovered in your examination of their writing. Refer to Language Arts
Handbook 7.3, Collaborative Learning and Communication, in your textbook for
guidelines on how to conduct a successful group discussion.
After your discussion, answer the following question on a separate sheet of
paper: Do you believe that there are distinctive female and male voices in literature?
Explain your thoughts on the subject.
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Name: ____________________________________________________ Date: __________________
The Music of Poetry, page 1015
LITERARY CONNECTION PROJECT
Sound, Sense, and Nonsense

T. S. Eliot wrote some of the most challenging poetry of the twentieth century. As
The Music of Poetry makes clear, however, he also had a sense of fun and took
joy in the pure sound of words.
In this assignment, you will analyze and interpret the meaning of some of the
judgments Eliot makes in his essay. You will read two poems Eliot refers to in the
essay and perform a dramatization one of these poems with a small group.
Edward Lear
In his essay, Eliot refers to the poem The Courtship of the Yonghy-Bonghy-Bo,
by Edward Lear. Find a copy of this poem in the library or online, and read it.
(Note that Eliot spelled the title incorrectly in his essay.) Then read the following
remarks that Eliot made about Edward Lear and respond to the related questions.
1. His non-sense is not vacuity of sense: it is a parody of sense, and that is the
sense of it.
What does Eliot mean when he says that Lears nonsense is a parody of sense?
Support your answer with evidence from the poem.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
2. The Yongy-Bongy Bo and The Dong with a Luminous Nose are poems of
unrequited passionblues in fact.
In what sense is The Courtship of the Yonghy-Bonghy-Bo a poem of
unrequited passion? Would you agree that it resembles blues music?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
3. We enjoy the music, which is of a high order
What might Eliot be referring to as music of a high order in this poem? Give
examples.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
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William Morris
In The Music of Poetry, Eliot also refers to William Morriss poem The Blue
Closet. This work is part of a collection entitled The Defense of Guenevere and is
available in print or online. Read the poem and respond to the following remarks
by Eliot.
4. It is a delightful poem, though I cannot explain what it means
What might have puzzled Eliot about this poem?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
5. It has an effect somewhat like that of a rune or charm.
What is there about The Blue Closet that resembles a rune or a charm?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
6. But its obvious intention (and I think the author succeeds) is to produce the
effect of a dream. It is not necessary, in order to enjoy the poem, to know what
the dream means.
Do you agree with this statement? Explain your response with reference to
the poem.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
Perform
Both The Courtship of the Yonghy-Bonghy-Bo and The Blue Closet include
several distinct voices. Working with a small group, assign speaking parts for one
of these poems. Rehearse your reading, giving due emphasis to the musicality of
the rhythms and sound devices that dominate both works. Present your dramatized
reading for your classmates. See Language Arts Handbook 7.7, Oral Interpretation,
on page 1289 of your textbook, for additional guidelines on reading a literary work
aloud for a group.
As an alternate assignment, work alone or with a partner to set one of these
poems to original music. You may use a shorter excerpt of either poem, but strive
to preserve the musical essence of the words that so struck Eliot. Perform your song
for the class.
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Name: ____________________________________________________ Date: __________________
War Poet / Words, page 1069
War Poetry
Sidney Keyes and Keith Douglas both fought and died in World War II. In their
poems, they described the war as it was and not the way politicians or patriots
wished them to see it. This tradition of realistic British war poetry had begun
twenty-five years earlier in the trenches of France and Belgium during World War
I. One of the best known of these earlier war poets was Wilfred Owen, an officer
who died a week before the war ended in 1918. (For more on Owen, see page 952 of
your textbook.)
In this activity, you will compare one of Owens poems with the works of Keyes
and Douglas in your textbook. You will participate in a group discussion about the
similarities and differences among the three poems.
Get Started
Locate and make a copy of the poem Anthem for Doomed Youth, by Owens.
Read the poem with a partner. Look up words and phrases that are unfamiliar to
you, and discuss questions you have about the poems meaning.
Explore and Share

Work independently to answer the questions below on a separate sheet of paper.
1. In a sentence or two summarize Owens main idea in Anthem for
Doomed Youth.
2. In Words, Douglas compares words to butterflies trapped in a net. Which
words or phrases in Owens poem might have that special quality that Douglas
is suggesting?
3. What attitude does the speaker in Keyess War Poet share with the speaker of
Wilfred Owens Anthem for Doomed Youth?
4. What attitude about war do Keyes, Douglas, and Owen share? How do they
make their opinions known?
Share your answers to the questions with classmates in a small group. Discuss
the similarities and differences among the three poems.
46
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Name: ____________________________________________________ Date: __________________
Shooting an Elephant, page 1112
HISTORICAL CONTEXT ACTIVITY
Britains Empire
In the 1920s, when George Orwell was serving as a police officer in Burma, Great
Britain oversaw a sprawling collection of colonies, protectorates, and dominions.
In this activity, you will place Orwells essay Shooting an Elephant in its larger
historical context by creating and presenting posters.
Get Started
Working on your own, read two or three articles that provide historical overviews
of the British Empire. Acquaint yourself generally with the empires growth, wars,
administration, achievements, and decline.
Research the British Empire

Form six groups, and assign one of the following topics to each group. Each group
will design and present a poster on its topic. As you research your groups assigned
topic, take notes and record references to useful visual material.
Reasons for the Empires Rise. Learn about the economic and political causes
for Britains territorial expansion.
Extent of the Empire in 1919. Acquaint yourself with the sprawling empire as it
existed at its most expansive moment in history.
Governance of the Empire. Which territories were under direct rule in 1919?
Which were largely self-governing? Learn how Britain administered this empire.
Strengths and Achievements of the Empire. Many Britons believed imperialism
to be a noble cause. Assess to what extent the empire worked to the benefit of the
people it ruled.
Injustices Arising Out of Imperial Rule. Study the human and cultural costs of
Britains intervention in so many distant parts of the world.
Decline and Fall of the Empire. Research the causes for the empires precipitous
end. Learn what remains of its influence today.
Present and Reflect

Working with your group, create a poster that presents visual material on your
topic. Include captions or brief passages of text to provide essential explanations.
Also prepare a presentation on your topic, with each group member playing a role
and the poster serving as a visual reference. Refer to Language Arts Handbook 7.10,
Preparing a Multimedia Presentation, in your textbook, for guidelines on effective
use of a visual for communication.
When all the groups have completed their presentations, answer the following
question on a separate sheet of paper: On balance, would you assess Britains
influence on the world as benevolent or harmful?
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Name: ____________________________________________________ Date: __________________
Do Not Go Gentle Into That Good Night, page 1123
LITERARY FORM STUDY
Reconstruct a Villanelle
Do Not Go Gentle Into That Good Night, by Dylan Thomas, is a famous example
of a villanelle, which is a complex nineteen-line verse form. The rhyme scheme is
aba aba aba aba aba abaa. The first line is repeated as lines 6, 12, and 18. The third
line is repeated as lines 9, 15, and 19. The first and third lines appear as a rhymed
couplet at the end of the poem.
In this lesson, you will reconstruct a villanelle by another famous poet.
Reconstruct the Poem

The complete text of a villanelle by an American author is provided below. The
lines are arranged in alphabetical order. Your job is to rearrange them, using logic
and the villanelles formal rhyme scheme (described above), to reconstruct the
original poem.
The first and third lines (which are repeated throughout the poem) are
as follows:
There is nothing more to say
They are all gone away
Here are the remaining eleven lines:

And our poor fancy-play
Around the sunken sill
For them is wasted skill
In the House on the Hill
Nor is there one today
The House is shut and still
The winds blow bleak and shrill

There is ruin and decay
Through broken walls and gray
To speak them good or ill
Why is it then we stray
Working with a partner, rearrange the lines into the correct order and write
them on a separate sheet of paper, adding appropriate punctuation.

When you have finished putting the lines of the poem in their correct order, enter
a line or phrase into an Internet search engine to find the original poem and its
author on the Internet, or ask your teacher for a copy of the original poem. Identify
the poem by title and author. Then on your own paper, tell how your version
compares and contrasts with the poets original poem. In your comparison, explain
any difficulties that you encountered in reconstructing the poem.
Title and author of original poem: _____________________________________________________
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Name: ____________________________________________________ Date: __________________
from Balzac and the Little Chinese Seamstress, page 1156
WORLD LITERATURE ACTIVITY
Political Oppression
Balzac and the Little Chinese Seamstress, by Dai Sijie, takes place during Chinas
oppressive Cultural Revolution in the 1900s. Sadly, such periods of oppression have
occurred throughout history, and writers have been there to chronicle the events.
In this activity, you will report on a novel or memoir set during a period of
political oppression. You will also identify the political climate in which the plot
takes place and the present-day situation of the country or region.
Get Started
Read a novel or memoir set in a time of political oppression. The following is a list
of some well-known titles. Your teacher or librarian may be able to recommend
other suitable books.
Ireland: The Informer, by Liam OFlaherty
Russia/Soviet Union: One Day in the Life of Ivan Denisovic,
by Alexander Solzhenitsyn
South Africa: Cry, the Beloved Country, by Alan Paton
Germany: Night, by Elie Wiesel
The United States: Black Boy, by Richard Wright
Afghanistan: The Kite Runner, by Khaled Hosseini
China: Empire of the Sun, by J. G. Ballard
Record details about the book and its political background in a chart like the
one below.
Book and author
Country
Time of setting
Political situation during this period
Resolution of situation
Research and Present

After reading your book, research information about the political climate in which
the story takes place. Also find out about present-day conditions of the country or
region, especially those related to the main theme in the story. Prepare and give
an oral report on your book, with emphasis on political conditions influencing
the characters and the plot. Begin by introducing the book and giving historical
background about the setting. Briefly summarize the action and explain how the
political environment affects it. Conclude by describing how the situation in that
country or region has changed (or not changed) since the era in which the book is set.
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Name: ____________________________________________________ Date: __________________
Dead Mens Path, page 1224
CULTURAL CONTEXT PROJECT
Indigenous Rights
Dead Mens Path, by Chinua Achebe, describes a conflict that takes place
wherever indigenous people resist the forces of modernization. The term
indigenous people has been defined in many ways, but it generally refers to a
population that has lived in a region since the earliest times. The ways and beliefs
of indigenous people tend to be deeply connected to the land and its resources.
These spiritual and emotional associations are often lost on the invasive immigrant
groups, who may be fleeing from danger or simply seeking to enrich themselves.
In this assignment, you will investigate instances of cultural conflict in the
world today and construct a fictional scenario based on one of those issues.
Get Started
With the Industrial Revolution and the colonial expansion of Europe, conflicts
between western immigrants and indigenous people flared up all over the world.
Discord has continued to the present day and often involves the following issues:
rights to land and natural resources
political autonomy
social discrimination
spiritual, linguistic, and cultural preservation
environmental degradation
Using Internet or library sources, investigate four current disputes between
indigenous people and those in favor of change or modernization.
Record Information
Record information for each conflict in the chart below.
Country or
Region
50
Parties Involved
Issue
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Create a Fictional Scenario

Choose one of the issues that you described in the chart on the previous page.
Conduct further research on this topic to discover more about the physical and
social environment, the beliefs of the indigenous people, and the arguments
of those who advocate modernization. Look for quotations from the parties
involved and for visual images of the locale and participants to familiarize yourself
thoroughly with the conflict.
When you feel you understand the situation, use your imagination to construct
a fictional scenario that illustrates a conflict based on the issue. You may wish to
imitate the style of Dead Mens Path. Keep the following guidelines in mind:
Feel free to invent fictional people and places but base your story on facts.
Create believable characters who feel passionately about the issue involved.
Represent both sides of the dispute.
Develop a plot involving conflict, rising action, climax, and resolution.
Write a synopsis of your plot in the chart below.
Setting
Characters
Conflict
Rising action
Climax
Resolution
Reflect
When you have completed your scenario, answer the following questions on a
1. How do you feel the dispute you outlined in fictional form will play out
in reality?
2. How would you resolve the conflict between the rights of indigenous people
and the march of social and industrial progress?
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ANSWER KEY
The Seafarer
Comparing Literature Activity: Find Points of
Comparison and Contrast, page 7
Unit 1
The Conversion of King Edwin, from
Ecclesiastical History of the English
People
Historical Context Project: The Early Middle
Ages, page 1
Students notes should address all questions asked about
their chosen topic. Student groups should discuss the
four topics, making sure to understand and define the
limits of their research. They should prepare thorough
research notes, not written reports.
Groups presentations should be informative and
creative, demonstrating insight and thoughtful research
while maintaining listeners interests.
from Beowulf
Literary Form Activity: Epics, page 2
Students first chart should identify the hero, setting,
and plot action for their epic. The second chart should
provide details to be used in their epic.
Students tales should be written at an appropriate
level for young children and should include appropriate
graphics.
The Head of Humbaba, from

Gilgamesh
World Literature Study: Folk Epics of the
World, page 5
The titles and background information about narrative
poems will vary but should reflect insightful and careful
preliminary research.
Partners should identify the contents of their
presentation and speaking order in a brief outline that
they can use to develop their presentation.
Presentations should serve as an entertaining and
informative introduction for an audience unfamiliar
with the work.
Answers to reflection questions will vary.
1. Each student should identify elements or parts of
the epic that he or she found particularly interesting or
unusual.
2. Students may identify themes, heroic characters,
and literary elements that the epics presented have in
common.
52
BR TRADITION
Gr12_AdvStudents_AK.indd Sec1:52
Students charts should identify a specific literary

elements in the two works.
Students essays should display a familiarity
with both works. Their essays should be focused and
well organized, clearly identifying similarities and
differences in literary elements. Essays should include an
introduction, body paragraphs, and a conclusion.
Answers to the reflection question will vary. A good
response will indicate an understanding of the authors
differing perspectives and cultures.
Unit 2
Bonny Barbara Allan
Literary Form Activity: Experiment with Poetic
Form, page 8
Haikus should relate to Bonny Barbara Allan, include
concise concrete imagery, and observe the syllable count
of 5/7/5.
Students poems should show an understanding
of poetic form and the elements of poetry. They should
clearly relate to Bonny Barbara Allan in narrative or
theme. Students should read their works with clarity and
expression.
The Prologue, from The Canterbury

Tales
Literary Connection Study: The Frame Tale,
page 9
Students should concisely describe the reasons the
stories are told within each frame.
Students presentations should be both informative
and entertaining. Students should tell their stories
fluently, expressively, and idiomatically, suggesting the
spirit of the original texts.
from Everyman
Archetypal Character Study: Everystudent,
page 10
Students charts should describe experiences that
represent real events in school life. Everystudents
responses will vary but should not be conventionally
heroic.
Students scene summaries should indicate a
thoughtful choice of event. Students completed scripts
should differentiate dialogue and stage directions.
1. Students may point out that audiences will always
identify with an unexceptional character who is
confronting the difficulties of ordinary life.
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2. Students are likely to identify traits that help make

them an everystudent.
Federigos Falcon, from The Decameron

World Literature Project: Familiar Motifs, page 12
Answers will vary. Students should identify the works
from which their examples come and briefly explain how
they exemplify the motif.
Unit 3
Whoso list to hunt / With how sad steps
Literary Form Study: The Sonnet, page 13
Responses to the Analyze Meter exercise should be as
follows:
/
/
/
/
/
/
Whoso list to hunt, I know where is an hind, a 11 N
/
/
/
/
/
But as for me, alas, I may no more.
b 10 Y
/
/
/
/
/
The vain travail hath wearied me so sore
b 10 Y
/
/
/
/
/
I am of them that farthest cometh behind.
a 11 N
In the Study a Sonnet exercise, students
paraphrases should indicate a grasp of the poets intent.
Their explanations of the connection between form and
ideas should be clear and logical.
Students own sonnets should display an
understanding of the poetic form and should use iambic
pentameter and rhyme competently and consistently.
Let me not to the marriage of true

minds (Sonnet 116)
Literary Criticism Activity: An Authors Life and
Time, page 15
Responses to the Read and React prompt will vary. A
possible response is this: Man squanders the riches
and abundance given by God, as illustrated by Adam
and Eves loss of Eden (the fall), becoming spiritually
impoverished. However, by celebrating the victories
of Christ at Easter, the speaker is able to transcend sin
(flight). Although afflicted by sickness and shame
because of sin, the speaker hopes his suffering will
increase his spirituality, allowing him to combine with
God and thus take flight from mortal concerns. The
speaker seems humble and concerned with matters of
the spirit rather than material goods or comfort.
Responses to the Investigate and Analyze questions
will vary. Possible responses are shown:
1. Herbert was born into wealth and privilege and could
have become politically prominent. However, he gave up
those advantages and instead became a country rector,
renowned for humility and caring. This information
adds to the significance of the poems reference to
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wealth and store foolishly lost by man. Herberts

speaker does not equate poverty with lack of money but
with loss of Eden.
2. The tone of Easter Wings is humble and hopeful
because of the risen Christ, suggesting a concern not
with this life but with the next. Herberts rejection of
wealth and political influence to minister to the
common people meshes harmoniously with his
outlook in this poem.
3. Herberts choice may have separated him completely
from his former life and removed the protection
that money and influence give. However, Herberts
knowledge that he was very ill with consumption may
have emphasized his concern with spiritual matters. His
hopeful poem about being lifted by the promise of Easter
suggests his life focus is spiritual.
Responses to the Compare and Contrast
prompt will vary. Students should give at least one
specific example of an insight they gained from their
biographical-historical research and analysis.
The Passionate Shepherd to His Love /

The Nymphs Reply to the Shepherd
Comparing Literature Activity: A Fictional
Dialogue, page 16
Students charts will vary. Questions and answers
recorded in the chart should highlight the contrasts
between the characters.
Scripts should present a good contrast between the
characters through dialogue that accurately reflects the
main traits of the characters.
Students performances should show evidence of
rehearsal. Students should use verbal expression and
body language to portray their characters, emphasizing a
contrast in personality.
Eves Apology in Defense of Women,

from Salve Deus Rex Judaeorum
Literary Response Project: Responding as a
Group, page 18
Students selections should be challenging works from
the period not included in their textbook.
Students should use their written impressions
to initiate their discussion. They should expand their
exploration to cover other aspects of the works.
Students explications should investigate the
relationship of words, images, and literary techniques to
the meaning of a work.
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Answers to reflection questions will vary. Students

should show a clear grasp of the Faustian bargain and its
modern ramifications.
Unit 4
The Tragedy of Macbeth
Historical Context Project: Witchcraft in
Renaissance Britain, page 19
Students should create a thorough outline for a
witchcraft scare, recording specific details about
characters and events that reflect the specified historical
period. Students outlines should reflect their research on
other trials from the period.
Effective accounts will include a convincing first-person
narrator. All details should remain in the realm of
historical possibility.
1. Students may mention a natural desire to account
for events that science could not explain, the suspicion
of eccentric behavior, or the churchs stance against
witchcraft.
2. Students may mention societys fearful persecution of
people seen as outsiders in times of crisis.
from the Analects

World Literature Study: Studies in Leadership,
page 21
Answers will vary. In their charts, students should
record passages that represent the main political ideas
of each thinker. Students should be well enough versed
in the ideas of Confucius and Machiavelli to conduct a
discussion of five minutes or more.
may observe that Confucius is an idealist who believes in
the virtue of example. Machiavelli believes that leaders
must adapt to circumstances, often at the expense of
morality. Students may argue that Machiavellis views
have preeminence in the modern world.
from The Tragical History of Doctor

Faustus
Literary Connection Activity: Genesis and the
Faustian Bargain, page 22
Students responses to the questions should demonstrate
familiarity and insight with the selected literary texts.
Students should correctly identify the basic character
and plot elements of the biblical account of the fall
of humankind and the Faust narrative. They should
make inferences about the texts and demonstrate
thoughtfulness and maturity when reflecting on the
nature of knowledge.
Small groups should try to reach some consensus on
the questions they have been considering, culminating in
the composition of a thoughtful statement about human
knowledge.
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BR TRADITION
Monologues and Soliloquies from

Shakespeares Plays
Comparing Literature Activity: Monologues and
Soliloquies, page 23
Students should state succinctly how the passage they
selected fits into the context of the play.
Students should recite their monologues and
soliloquies with expression and accept only questions
that can be answered by the words yes or no. They
should summarize as much of the plays plot as necessary
to clarify the context of their passage.
should demonstrate an understanding of how the
passage they selected fits into the larger work. Students
should offer a brief, insightful comparison of the literary
and dramatic elements of their chosen passage and
the Shakespearean speeches presented in the textbook.
Students should identify the speech or speeches that
made the greatest emotional impact on them and explain
their opinion.
Unit 5
How soon hath Time (Sonnet VII)
Primary Source Study: Literature as a Primary
Source, page 24
Students should choose a Milton poem or the Dickens
novel David Copperfield. Both have potential for
providing insights into their authors. Students should
thoughtfully distinguish information that is likely to be
factual from that which is questionable. Miltons poems
may reflect his own experiences as well as those of
family and friends. The Dickens novel likely reflects the
authors youthful experiences and living conditions of
the era. In their presentations, students should indicate
that they understand the ambiguities involved in using
literature as a primary source.
from Oroonoko
Cultural Connection Study: Kingdoms of West
Africa, page 25
Students multimedia presentations should show
thorough research, thoughtful design, and careful
execution. Images and text should be harmoniously
integrated.
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from The Diary of Samuel Pepys /

from A Journal of the Plague Year
Literary Form Project: The Diary, page 26
Students should identify the diaries and authors and
briefly state their impressions of the works.
Students charts should provide concise and
thoughtful answers to the questions for both of
the diarists.
An effective diary entry will be about a
contemporary topic in the style of the diarist chosen by
the student.
Answers to the Extend Your Understanding
questions will vary. Consider these points:
1. Students may point out that blogs are intended for
public display from the moment of writing; diaries
are generally private works, unpublished during their
authors lifetime.
2. Students should reveal an insight into their diarists
purposes and personalities.
from The Diary of Fanny Burney

Informational Text Activity: Answering Questions
Asked by a Text, page 28
Students should find and properly document articles
accessible to the general reader from Internet and print
sources.
Students should write short expository articles
relaying the material in the informational texts they
found. Articles should address the listed topics in
eighteenth-century life and answer questions within
those topics. Small groups should present their articles
together in the form of an attractive, well-designed
scholarly magazine or journal.
Unit 6
Historical Context Activity: Reinventing the Past,
page 29
Responses will vary. Possible responses are shown.
A fascination with nature: Coleridge uses vivid imagery
to evoke the beauty and mystery of nature: gardens
bright with sinuous rills and that deep romantic
chasm which slanted / Down the green hill athwart a
cedarn cover!
The triumph of emotion over reason: The speaker
imagines the passionate ritual that people would perform
in the face of his creation: Weave a circle round him
thrice, / And close your eyes with holy dread.
The power of the creative imagination: With his music
alone, the speaker would create a pleasure dome of his
own: I would build that dome in air / That sunny dome!
Those caves of ice!
She Walks in Beauty

Authors Style Study: Analyzing Byrons Style,
page 30
Responses will vary. Possible responses are shown.
Figurative language: simile: She walks in beauty, like the
night / Of cloudless climes and starry skies
Imagery: mellowd to that tender light / Which heaven
to gaudy day denies
Sound devices: alliteration: Of cloudless climes and
starry skies; assonance: Had half impaird the nameless
grace
Parallelism: And on that cheek, and oer that brow; A
mind at peace with all below, / A heart whose love is
innocent
Rhyme: stanza with rhyme scheme ababab; strong
(mostly monosyllabic) regular rhymes
Rhythm: iambic tetrameter; very few irregular lines.
Students selections will vary. They might point out
that Byrons style is characterized by an expert command
of rhyme and rhythm, a sense of harmony and balance
reflected in his use of parallelism, a precise use of sensual
vocabulary, and an ear fine-tuned to the music of the
spoken word. Oral presentations should show command
of the selection and smooth, confident delivery.
The Lorelei
Kubla Khan
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The individual as hero: Both Kubla Khan and the

speaker are creatorsone with stone and mortar, the
other with his art: In Xanadu did Kubla Khan / A stately
pleasure dome decree.
An effective essay will be well organized, include
an introduction with a thesis statement, a body with
supporting evidence, and a conclusion that sums up the
ideas. The essay should make clear connections between
the principal motifs of Romanticism and elements of
Coleridges poem.
World History Activity: History Tour of the Rhine,

page 31
Charts should indicate why the places identified
are of particular interest in addition to providing
basic descriptions of each site. An effective presenter
will assume the role of a good tour guide, exuding
enthusiasm for his or her subject, projecting expertise
through detailed knowledge of the subject, and leaving
the impression that there is much more to be said.
from Introduction to Frankenstein

Literary Context Study: Gothic Fiction, page 32
In their selection and explanation of a passage, students
should show understanding of characteristics of the
Gothic genre. Story details should incorporate all or
most of the six elements listed and conform to the
traditional elements of Gothic fiction. A successful story
will be atmospheric and serious in its intent to frighten.
BR TRADITION
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While their efforts may not actually alarm the modern

reader, student authors should not write their Gothic
stories ironically.
Responses to questions should reflect an honest
assessment of the students written story and its
elements.
Unit 7
from Great Expectations
Literary Form Study: Characters in a Novel,
page 34
The examples of characterization that students choose
from Chapter 8 of Great Expectations will vary. An
example is given: the young lady, who was very pretty
and seemed very proud.
Students chapter entries should show
understanding of direct and indirect characterization.
Effective scenes will be lively and convincing, concisely
suggesting personality traits in the principal character.
The Lagoon
Theme Study: Implied Themes, page 35
Responses to the Get Started questions will vary. Possible
responses:
1. Arsat chooses not to assist his brother, despite his cries
for help. He can never forgive himself for that decision.
His lonely, isolated existence serves as a physical
reflection of that choice.
2. Even in a time of peace Arsat is tormented by love,
and he has been unable to find peace in his exile. There
is no light and no peace in the world, he explains.
Elsewhere, the white mans reflections on death lead
him to see the world around him as an unquiet country
of inextinguishable desires and fears struggling for
possession of our helpless hearts.
3. Arsat refuses to turn around when his brother cries
for help. He is in the boat with his loved one, looking
for a country where death is forgottenwhere death is
unknown!
4. Arsats guilt stems from his failure to assist his brother.
Ironically, in assisting him, he would almost certainly
have died.
Responses to the story planning chart will vary.
Students plans should suggest a theme expressed in
The Lagoon. Students should make a clear connection
between their story details and their theme.
Answers to the Extend Your Understanding
questions will vary. Consider the following points:
1. The choice of a principal theme should be supported
by evidence from the story.
2. Students may point out that while there is no single
correct interpretation, there are many that are highly
unlikely. They may suggest that music is more subject to
a range of interpretations than writing or realistic art.
56
BR TRADITION
The Lady of Shalott

Art Connection Project: Pre-Raphaelite Painting,
page 37
Possible answers to the Study a Painting questions
follows:
1. Impressions of the painting will vary.
2. Students may describe the painting as tragic or sweetly
sad. The beautiful girl seems to be drowning but is
apparently oblivious of her fate. She is surrounded by
spring flowers.
3. The story is from Hamlet. Ophelia, driven mad by her
love of Hamlet and the death of her father, falls into a
brook and drowns.
4. The natural detail is realistic and meticulous; the
subject is from the Middle Ages; Ophelia, who is also
realistically portrayed, exudes a glowing, spiritual beauty.
In their chart, students should record specific
impressions about the paintings they chose.
Students paragraphs about their chosen painting
should describe the work accurately and record their
personal response to it.
When I Was One and Twenty

Music Connection Activity: Music and Poetry,
page 39
Chart responses will vary.
Under Impressions, students should record what
they noticed about the songs rather than attempting to
be analytical.
Students should provide concise, thoughtful
answers to the Analyze an Art Song questions.
Presentations should stress the emotional impact of
words and music.
Answers to the Reflect questions will vary. Consider
the following points:
1. Students should provide reasons for their opinions
about song lyrics.
2. Comparisons will be based on students enjoyment of
art songs and contemporary music.
Unit 8
The Rising of the Moon
Primary Source Project: Theater Reviews, page 41
Students should choose one production and concisely
sum up the reviewers opinions. An effective
presentation will be engaging and well organized.
Students need not go into their reviewers opinions in
any depth but should summarize each writers thoughts
on the strengths and weaknesses of the production.
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from A Room of Ones Own

Literary Criticism Activity: A Womans Voice,
page 42
Responses will vary. Possible responses.
1. Authors viewpoint and tone: Kempe is full of selfcriticism. Looking back, she chastises herself for pride
and ambition. She attributes her failures to these worldly
faults. Character and repression: It is possible that
Kempe was suffering for being an ambitious woman in a
mans world. Would the neighbors have turned against
her if she had been a man?
2. Authors viewpoint and tone: Lanier makes a powerful
case that men are the responsible party in the eviction
from Eden and in the death of Christ. She argues
assertively, like a lawyer. Character and repression:
According to Lanier, womens fault is too much love.
She seems to be suggesting that if women had been given
a more responsible role to begin with, there wouldnt
have been so many problems.
3. Authors viewpoint and tone: According to Cavendish,
history moves in cycles, favoring certain types of leaders.
This is an age when men are weak; therefore women can
prevail. Character and repression: Women are inferior
to men, Cavendish believes, but this shouldnt stop them
striving to be a degree above Beasts.
4. Authors viewpoint and tone: Behn is passionately
antislavery. She views the African Oroonoko as an equal
to any European prince. Character and repression: Does
Behns sympathy with the downtrodden slave mask an
anger at the condition of women in English society?
5. Authors viewpoint and tone: Burneys wit and social
confidence indicate that she comes from a privileged,
educated element of society. Character and repression:
Although perfectly able to compete with the best male
minds, Burney has no desire to rock the boat. She plays
the game, concealing her reading material for fear of
appearing bookish.
6. Authors viewpoint and tone: Mary Shelley is another
confident, intellectual voice. She is perfectly confident
among the greatest poets of her day. Character and
repression: Shelley tries harder than the men at
producing a ghost story, perhaps because she feels she
has something to prove. She is dismissive of poor
Polidori and the story he creates.
7.Authors viewpoint and tone: Jane, the narrator, is
intelligent and observant but also lonely and powerless.
Character and repression: Women are equal to men
intellectually but not politically. Mr. Rochester rules a
house full of dependent, subservient women.
8. Authors viewpoint and tone: The speaker takes
a cool, rational view of her relationship. She is fond
but firm in her resistance to romance. Character and
repression: The speaker may not be powerful, but she
is in a position to avoid emotional damage. She is able
to exert her independence. Students should be able to
name each author and describe her viewpoint and tone
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in discussion. Discussion should observe any changes in

womens evolving self-concept as exemplified through
the selections.
Students should provide reasons to support their
opinions about distinctive male and female voices in
literature.
The Music of Poetry

Literary Connection Project: Sound, Sense, and
Nonsense, page 44
1. Lear parodies the conventions of romantic love by
making his lovers an absurd pair with ridiculous names.
Despite the nonsense trappings, however, the love story
is touching.
2. The Yonghy-Bonghy-Bo is in love with the married
Lady Jingly Jones, who returns his love but cannot accept
him as a lover. In its expression of sentiments of loss and
unhappiness, the poem resembles the blues.
3. The first two lines possess intensely musical assonance
and alliteration. The poems trochaic rhythm and
repeated lines and sounds (Yonghy-Bonghy-Bo,
where the early pumpkins blow) feel as hypnotic as an
incantation.
4. The poem tells of Lady Alice and Lady Louise,
imprisoned in the mysterious blue closet, but it never
tells why or what holds them there. Nothing is explicit
except that the two women seem to be freed by their own
deaths at the poems end. All the images are deliberately
undefined and dreamlike.
5. The fact that the women are allowed to sing once
a year suggests a charm. This song, in fact, may have
the magical effect of releasing the women from their
confinement.
6. The poems images and associations run together in a
dreamlike way, leaving the reader with a hazy impression
of what happened and why. Struggling to find meaning
in this poem does not enhance a readers appreciation.
Students dramatic readings should capture
the lyrical effects in both poems, including the many
sound devices and the insistent rhythms. Students
should read slowly and expressively. The music for
students songs should have a mood and rhythm
appropriate for the poem.
War Poet / Words

Comparing Literature Activity: War Poetry,
page 46
1. The speaker mourns the death of soldiers mown
down in the war, pointing out that conventional
religious rituals and trappings are both unavailable and
inadequate to commemorate the senseless loss. The true
ceremony can only be in the grieving hearts of those
left behind.
BR TRADITION
57
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2. Students might point out monstrous anger,

stuttering rifles, shrill demented choirs, or holy
glimmers.
3. War has transformed both mens attitudes to life.
The barbarity of war has overwhelmed Owens belief in
religion. Keyes, a man who looked for peace, reveals
himself as a bringer of death on the verge of breakdown.
4. The imagery of all three poems indicates waste and
horror. With bitter irony, Owen compares the terrible
sounds of battle to the churchs ceremony for the dead.
Keyes speaks of his face as a burnt book / And a wasted
town. Douglas finds his words in the pockmarked
house bleached by the glare / whose insides war has
dried out like gourds.
Unit 9
Historical Context Activity: British Empire,
page 47
In their presentations, students should speak from notes,
using their posters for visual support only.
Responses to the reflection question may vary.
Students should support their opinions with reasons
based on information they researched.
Do Not Go Gentle Into That Good Night

Literary Form Study: Reconstruct a Villanelle,
page 48
The original poem that students are asked to reconstruct
is reproduced below. If students do not have access to
the Internet, you may provide a copy of the poem for the
Compare and Contrast assignment.
They are all gone away,

The House is shut and still,
There is nothing more to say.
Through broken walls and gray
The winds blow bleak and shrill:
They are all gone away.
And our poor fancy-play

For them is wasted skill:
There is ruin and decay
In the House on the Hill:
Students comparisons will vary but should include
specific examples of any differences and should explain
any difficulties encountered.
from Balzac and the Little Chinese

Seamstress
Shooting an Elephant
The House on the Hill

by E. A. Robinson
Why is it then we stray

Around the sunken sill?
World Literature Activity: Political Oppression,

page 49
The chart should identify the book read and provide
details about the political background in which the
plot takes place. A successful report will present an
overview of the country or regions political setting and
describe how the book reflects that setting. It will offer
perspective on actual history gained from reading fiction
set in a politically oppressive era.
Dead Mens Path

Cultural Context Project: Indigenous Rights,
page 50
Students chart information should concisely summarize
four different disputes.
Students scenarios should create a credible plot
outline based on a real dispute.
Answers to the reflection questions will vary.
Consider the following points:
1. Students should relate the fictional dispute to the
likely resolution of a similar dispute in reality.
2. Students should offer a thoughtful response, showing
evidence of thorough research.
Nor is there one today

To speak them good or ill:
58
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