· pdf filecontents fiction lesson 1 ... the lake isle of innisfree / i wandered lonely as ......

ContentsFiction

Lesson 1: Traditional Literature . . . . . . . . . . . . . . . . . . . . . . . . . 5

The Boy Who Dreamed Too Much

Draw and Support Inferences • Point of View . . . . . . . . . . . . . . . . . . . . . 8

The Blue Jackal Summarize • Figurative Language . . . . . . . . . . . . . . 16

Read on Your Own Strife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Lesson 2: Historical Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The Collector Narrative Point of View • Determine Theme . . . . . . . . . 34

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail

Compare and Contrast • Historical Fiction . . . . . . . . . . . . . . . . . . . . . . 42

Read on Your Own Hidden / Letter to a Granddaughter . . . . . 52

Lesson 3: Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

The Lost River, Act 1

Cause and Effect • Dramatic Structure . . . . . . . . . . . . . . . . . . . . . . . . 62


Cite Textual Evidence • Character, Setting, and Plot . . . . . . . . . . . . . . . 70

Read on Your Own Circle in the Woods . . . . . . . . . . . . . . . . . . . . . 80

Lesson 4: Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

The Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon

Visualize • Rhyme, Alliteration, Assonance . . . . . . . . . . . . . . . . . . . . . 90

The Ballad of King Arthur / Annabel Lee / Shall I compare thee to a summer’s day? / The Oven Bird

Paraphrase • Poetic Structure: Narrative Poem and Sonnet . . . . . . . . . . 96

Read on Your Own The Magnificent Bull / When I Was a Lad / To me, fair friend, you never can be old . . . . . 106

RL.7.1, RL.7.2, RL.7.4, RL.7.6, RL.7.10, L.7.4.a, L.7.4.c, L.7.4.d

RL.7.2, RL.7.6, RL.7.9, RL.7.10, L.7.3.a, L.7.4.a, L.7.4.d

RL.7.1, RL.7.3, RL.7.5, RL.7.10, L.7.4.b, L.7.5.b

RL.7.4, RL.7.5, RL.7.10, L.7.4.a, L.7.4.d, L.7.5.c

Common Core State Standards

2

CC13_ELA_G7_SE_FM_TOC.indd 2 5/9/13 1:35 PM

Nonfiction

Lesson 5: Scientific Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

The Puzzling Platypus

Central Idea and Supporting Details • Analyze Interactions . . . . . . . . . 116

Discovering Deep-Sea Vents Summarize • Distinguish among

Facts, Reasoned Judgments, and Speculation . . . . . . . . . . . . . . . . . . 124

Read on Your Own The Large Hadron Collider . . . . . . . . . . . . 132

Lesson 6: Technical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Have a Ball!

Identify Steps in a Process • Integrate Visual Information . . . . . . . . . . 142

In the Subzero Closet Skim and Scan • Analyze Text Structure . . . 152

Read on Your Own Touch-tastic! . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Lesson 7: Persuasive Nonfiction . . . . . . . . . . . . . . . . . . . . . . 167

RFIDs in Our Future

Author’s Point of View • Fact, Opinion, and Reasoned Judgment . . . . . 170

Cashing in Our Chips

Compare and Contrast • Analyze Arguments . . . . . . . . . . . . . . . . . . . 178

Read on Your Own GMOs vs. You / Understanding GMOs . . 186

Lesson 8: Literary Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . 193

Animal Instincts Summarize • Evaluate Evidence and Claims . . . . . 196

Talking the Talk Central Idea and Supporting Details • Analyze

Development of Central Ideas in a Text . . . . . . . . . . . . . . . . . . . . . . . 204

Read on Your Own Sign, Baby, Sign! . . . . . . . . . . . . . . . . . . . . . . 212

Lesson 9: Historical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Who Was King Arthur?

Integrate Visual Information • Identify Steps in a Process . . . . . . . . . . 220

Child Monarchs

Draw and Support Inferences • Analyze Word Choice and Tone . . . . . . 230

Read on Your Own The Search for Atlantis . . . . . . . . . . . . . . . . 238

RI.7.2, RI.7.3, RI.7.6, RI.7.10, L.7.4.c, L.7.6, RST.6-8.2, RST.6-8.4, RST.6-8.6, RST.6-8.8

RI.7.5, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RST.6-8.3, RST.6-8.4, RST.6-8.5, RST.6-8.7

RI.7.4, RI.7.5, RI.7.6, RI.7.8, RI.7.9, RI.7.10, L.7.5.a, L.7.5.b, RH.6-8.6

RI.7.2, RI.7.4, RI.7.8, RI.7.10, L.7.4.b, RH.6-8.2


RI.7.1, RI.7.4, RI.7.7, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RH.6-8.3, RH.6-8.4, RH.6-8.7

3

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


Lesson 10: Primary and Secondary Sources . . . . . . . . . . . . 245

Genre Model: A Bright Future: From the Journal of Willie Oliver Cite Textual Evidence • Primary Sources . . . . . . . . . 248

Art for America Chronological Order • Secondary Sources . . . . . . . 256

Read on Your Own Two Accounts of the Apollo 11 Moon Landing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Tools

Graphic Organizers and Close Reading Worksheets

Lesson 1: Traditional LiteratureThe Boy Who Dreamed

Too Much . . . . . . . . . . . . . . . . . . . . . . .279

The Blue Jackal . . . . . . . . . . . . . . . . . . . . .281

Lesson 2: Historical FictionThe Collector . . . . . . . . . . . . . . . . . . . . . . .283

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail . . . . . . . . . . . . . .285

Lesson 3: DramaThe Lost River, Act 1 . . . . . . . . . . . . . . . . .287

The Lost River, Act 2 . . . . . . . . . . . . . . . . .289

Lesson 4: PoetryThe Lake Isle of Innisfree . . . . . . . . . . . . .291

The Ballad of King Arthur . . . . . . . . . . . .293

Lesson 5: Scientific TextsThe Puzzling Platypus . . . . . . . . . . . . . . .295

Discovering Deep-Sea Vents . . . . . . . . . .297

Lesson 6: Technical TextsHave a Ball! . . . . . . . . . . . . . . . . . . . . . . . .299

In the Subzero Closet . . . . . . . . . . . . . . . .301

Lesson 7: Persuasive NonfictionRFIDs in Our Future . . . . . . . . . . . . . . . . .303

Cashing in Our Chips . . . . . . . . . . . . . . . .305

Lesson 8: Literary NonfictionAnimal Instincts . . . . . . . . . . . . . . . . . . . .307

Talking the Talk . . . . . . . . . . . . . . . . . . . . .309

Lesson 9: Historical TextsWho Was King Arthur? . . . . . . . . . . . . . . .311

Child Monarchs . . . . . . . . . . . . . . . . . . . .313

Lesson 10: Primary and Secondary SourcesGenre Model: A Bright Future . . . . . . . . .315

Art for America . . . . . . . . . . . . . . . . . . . . .317

RI.7.1, RI.7.4, RI.7.5, RI.7.10, L.7.3.a, L.7.5.c, RH.6-8.1, RH.6-8.4, RH.6-8.5, RH.6-8.9


4

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


Lesson 1

Traditional literature is

made up of stories that have been handed

down from one generation to the next. The

stories may contain animal characters who

talk and act like humans, foolish people or

animals who are taught important lessons,

or explanations for natural events like

earthquakes or lightning. Every civilization

has its own form of traditional literature,

and the stories can be broken down

into specific categories. Folktales are

timeless and placeless stories that can be

reworked slightly to fit a specific culture’s

needs. They involve universal human

desires, follies, and struggles, such as the

vanity of kings or tall tales about fantastic

characters. Myths tell legendary stories

of heroes and gods, while fables teach a

lesson, usually using animal characters

who speak and behave like humans. What

kind of story do you think this storyteller

is telling?

Traditional Literature

Skills FocusThe Boy Who Dreamed Too MuchDraw and Support Inferences Point of View

The Blue JackalSummarize Figurative Language

Traditional Literature 5

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

CC13_ELA_G7_SE_L01_005-030.indd 5 5/7/13 1:31 PM

Practice the SkillFirst Read Draw and Support Inferences

When you draw an inference, you figure out something the writer implies but does not state directly. You draw the inference by reading what the writer says, looking for clues in the text, and using your own knowledge of how things work and how people often behave. In other words, you come to understand something the author means to convey, even though he or she does not state it directly.

The clues you find while reading are the textual evidence that supports your inference. For instance, if a character frowns, you might infer that she is unhappy about something, although the text doesn’t specifically say that she is. The frown is your clue—the textual evidence that supports your inference. Also, you know from your own experience that someone who is frowning is usually unhappy or upset. If you are reading a story or drama and a character enters the room laughing, you don’t need the author to tell you that the character is happy. You can infer it for yourself.

These examples are fairly easy. Sometimes inferences can be much more subtle, and you may infer incorrectly at first. That’s OK. Just keep reading and know that new information and plot events may make you infer something new.

Try It Read the paragraph below.

The princess shivered as she hid in the small cave. She knew the huntsman and his dogs were close at hand. She could hear their baying grow louder and louder. As she waited to be discovered, she wept silently and despaired of ever seeing her family again.

Discuss What can you infer about the scene? Why is the princess shivering? How is she feeling? Underline the textual evidence that supports your inference. Then, circle details that suggest why she is feeling the way she is. What is the reason?

As you read, complete the Draw and Support Inferences Chart on page 279.

6 Lesson 1 • Traditional Literature

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


Practice the SkillSecond Read Point of View

Narrative point of view is the way a story is told. Authors usually tell a story in the first or third person. In a story told from the first-person point of view, the narrator is a story character who tells what happens using the pronouns I, me, us, or we. When an author uses third-person point of view, the story is told by an outside narrator who uses the pronouns he, she, or they to describe events.

Point of view also refers to the attitudes, perspectives, and outlooks different characters have in a story. Each character has a unique point of view that the author has to carefully develop, and characters’ perspectives very often change over the course of a story. By paying close attention to what characters say and do and how others react to them, you identify their particular points of view.

Try It Read the beginning of a short story.

Kate threw her pom-poms angrily onto the bed. “Everybody leave me alone!” she roared, slamming her bedroom door. The first day of cheerleading tryouts had been miserable. Every bone in her body ached, and she could still hear the chattering and giggling of the older girls who knew they’d make the squad. What’s the point, Kate fumed. It’s all a big popularity contest anyway, it’s all rigged—

Her phone rang. Oh, no! It was Aunt Patty calling! She’d been a cheerleader and had encouraged Kate to try out for the squad, insisting that girls were judged solely for their talent. How could she tell Aunt Patty that she planned to quit the tryouts even if she made it to the next round?

Discuss From what point of view is the story being told? Circle words in the first paragraph that show you. What is Kate’s outlook regarding cheerleading? What is Aunt Patty’s? What do you imagine happening as this story continues that could change Kate’s point of view? Keep in mind that her attitude could change for better or worse.

As you read, record your answers to questions about point of view and perspective on the Close Reading Worksheet on page 280.

The Boy Who Dreamed Too Much 7

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


Purpose for ReadingRead along with your teacher. Each time, read for a different purpose.

First Read Focus on drawing and supporting inferences.

Second Read Focus on analyzing point of view.

Third Read Focus on evaluating the story critically.

What can you infer about how Fritz feels about chopping firewood? Underline textual evidence that supports your inference. Write your answer on the Draw and Support Inferences Chart.

From what point of view is the story told? How can you tell? Circle point-of-view clues in the first paragraph.

Outside a small, snow-covered village, a boy called Fritz lived with his mother. The boy’s father had died years before, and now the family was destitute. Each day, Fritz looked with longing as the village children went to school while he chopped firewood and carried water for his mother, who took in sewing from the wealthy ladies in the village. She barely made enough money to buy eggs and flour for their bread, and she had to sew by firelight because candles were too expensive.

“Someday,” said Fritz, “I will make enough money so that Mother can live a life of ease, and I will never have to chop wood or carry water. It will be a good life.”

One winter’s day while Fritz was in the woods, he heard a sound like a mewling cat coming from a small cave. He peeked in and discovered a lamb that had been abandoned by its mother. Fritz wrapped the lamb in his coat and carried it home to his mother.

“Can I keep it please, Mother? I’ll take good care of it, and in the summer, I’ll take it out to graze every day.”

So, even though they barely had enough food for themselves, Fritz’s mother said he could keep the lamb.

As the months went by, the weather got warmer and spring slowly arrived. The lamb thrived under Fritz’s care and grew to be a healthy sheep. He became very fond of it. Each day it accompanied him as he searched the forest for firewood, and it slept in a shed behind the house at night.

1

2

3

4

5

6

The

Too MuchDreamedBoy Who


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


What can you infer from Fritz’s special care of the sheep? Underline textual evidence that supports your inference, and record your answer on the Draw and Support Inferences Chart.

What is a quality that Fritz displays that is shared the world over and makes this a folktale?

The village children would see Fritz traveling around the woods with his sheep and tease him mercilessly.

“Look at Fritz! Not enough money to go to school, but he has a pet sheep!” and “Don’t you know you should kill the sheep and let your mother make stew? Then you’d have something more to eat than dry bread!”

But Fritz ignored them and held his head high as he walked with his sheep behind him.

During the summer months, the days were long, and Fritz didn’t have to spend hours gathering wood for his mother. This gave him ample time to wander the countryside with his sheep following. Some days, Fritz would sit in a sunny spot and daydream his favorite dreams—all about what he would do when he was wealthy.

“I know,” he said to himself. “Next March, when it is shearing time, I’ll take my sheep into town and sell the wool, and with that money, I’ll buy a second sheep. Then, in a year, I’ll have even more wool to sell. Soon Mother and I will be able to move into a nice house and hire servants to take care of us.”

Through the summer, Fritz spent his days calculating how much wool his sheep had and how much money he would make when she was sheared, and then he planned how he would spend all of his money. Each day, he would inspect the sheep’s wool, removing any sticks or twigs that could damage it.

On particularly nice afternoons, he would get so caught up in his planning and dreaming that he would lose track of the time, and he often returned home after the sun had set.

7

8

9

10

11

12

13


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


From her scolding, what can you infer about what Fritz’s mother is afraid of? Underline textual evidence that supports your inference. Record your answer on the Draw and Support Inferences Chart.

Why is the wool from other sheep so much less nice than that from Fritz’s sheep?

“Oh, Fritz! You daydream too much,” his mother scolded. “It is better to focus on what you have here and now rather than building imaginary castles in the sky. Are you taking proper care of your sheep?”

“Of course, Mother,” replied Fritz. “I love my sheep and take great care of her. Once we get through the winter, I’ll take her to town for shearing. I’ll sell her wool and get enough to buy another sheep and something nice for you.”

The winter slowly crept in, and as the days grew shorter, Fritz once again had to spend most of his time chopping wood to warm their cabin—but he kept himself warm with dreams of his coming riches.

As the months passed, the sheep’s wool grew longer and thicker. Fritz inspected it every day for briars and was proud of how fluffy and clean the wool was, and he was sure that the wool would fetch a good price at market.

Soon enough, it was time to take the sheep to town for shearing. When Fritz arrived, the other men selling wool complimented him on the quality of his sheep’s coat, saying it was the cleanest, softest wool they had ever seen. All of Fritz’s hours of hard work diligently removing briars and twigs had paid off.

As Fritz predicted, the wool fetched enough money for him to pay a shepherd in advance for a lamb, which would be born in a few weeks. He also had money left over to buy his mother a warm shawl and some cake.

He walked home, his sheep still following, his head held high with pride.

“Look, Mother. I sold the sheep’s wool and earned enough money to buy a lamb in a few weeks, and I got you a pretty shawl and cake for our dinner. Soon we will live in a big house, and I’ll be the richest man in town.”

14

15

16

17

18

19

20

21


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


Contents

Student Edition Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

Instructional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

Student Edition Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

Teacher’s Manual: An Annotated Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . xi

Understanding the Common Core State Standards

Adapted from the Common Core State Standards Initiative Web site: www.corestandards.org . . . . . . xviii

Common Core State Standards Correlation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix

Lesson 1 Traditional Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Lesson 2 Historical Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Lesson 3 Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Lesson 4 Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Lesson 5 Scientific Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Lesson 6 Technical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Lesson 7 Persuasive Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Lesson 8 Literary Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Lesson 9 Historical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Lesson 10 Primary and Secondary Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Fluency Assessment and Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Contents iii

CC13_ELA_G7_TM_FM_NA_layers.indd 3 5/15/13 1:00 PM

ContentsFiction

Lesson 1: Traditional Literature . . . . . . . . . . . . . . . . . . . . . . . . . 5


Draw and Support Inferences • Point of View . . . . . . . . . . . . . . . . . . . . . 8

The Blue Jackal Summarize • Figurative Language . . . . . . . . . . . . . . 16

Read on Your Own Strife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Lesson 2: Historical Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The Collector Narrative Point of View • Determine Theme . . . . . . . . . 34

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail

Compare and Contrast • Historical Fiction . . . . . . . . . . . . . . . . . . . . . . 42

Read on Your Own Hidden / Letter to a Granddaughter . . . . . 52

Lesson 3: Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59


Cause and Effect • Dramatic Structure . . . . . . . . . . . . . . . . . . . . . . . . 62


Cite Textual Evidence • Character, Setting, and Plot . . . . . . . . . . . . . . . 70

Read on Your Own Circle in the Woods . . . . . . . . . . . . . . . . . . . . . 80

Lesson 4: Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

The Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon

Visualize • Rhyme, Alliteration, Assonance . . . . . . . . . . . . . . . . . . . . . 90

The Ballad of King Arthur / Annabel Lee / Shall I compare thee to a summer’s day? / The Oven Bird

Paraphrase • Poetic Structure: Narrative Poem and Sonnet . . . . . . . . . . 96

Read on Your Own The Magnificent Bull / When I Was a Lad / To me, fair friend, you never can be old . . . . . 106

RL.7.1, RL.7.2, RL.7.4, RL.7.6, RL.7.10, L.7.4.a, L.7.4.c, L.7.4.d

RL.7.2, RL.7.6, RL.7.9, RL.7.10, L.7.3.a, L.7.4.a, L.7.4.d

RL.7.1, RL.7.3, RL.7.5, RL.7.10, L.7.4.b, L.7.5.b

RL.7.4, RL.7.5, RL.7.10, L.7.4.a, L.7.4.d, L.7.5.c


2


Student Edition Table of Contents

iv student ed it ion table of Contents


Nonfiction

Lesson 5: Scientific Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

The Puzzling Platypus

Central Idea and Supporting Details • Analyze Interactions . . . . . . . . . 116

Discovering Deep-Sea Vents Summarize • Distinguish among

Facts, Reasoned Judgments, and Speculation . . . . . . . . . . . . . . . . . . 124

Read on Your Own The Large Hadron Collider . . . . . . . . . . . . 132

Lesson 6: Technical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Have a Ball!

Identify Steps in a Process • Integrate Visual Information . . . . . . . . . . 142

In the Subzero Closet Skim and Scan • Analyze Text Structure . . . 152

Read on Your Own Touch-tastic! . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Lesson 7: Persuasive Nonfiction . . . . . . . . . . . . . . . . . . . . . . 167

RFIDs in Our Future

Author’s Point of View • Fact, Opinion, and Reasoned Judgment . . . . . 170

Cashing in Our Chips

Compare and Contrast • Analyze Arguments . . . . . . . . . . . . . . . . . . . 178

Read on Your Own GMOs vs. You / Understanding GMOs . . 186

Lesson 8: Literary Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . 193

Animal Instincts Summarize • Evaluate Evidence and Claims . . . . . 196

Talking the Talk Central Idea and Supporting Details • Analyze

Development of Central Ideas in a Text . . . . . . . . . . . . . . . . . . . . . . . 204

Read on Your Own Sign, Baby, Sign! . . . . . . . . . . . . . . . . . . . . . . 212

Lesson 9: Historical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Who Was King Arthur?

Integrate Visual Information • Identify Steps in a Process . . . . . . . . . . 220

Child Monarchs

Draw and Support Inferences • Analyze Word Choice and Tone . . . . . . 230

Read on Your Own The Search for Atlantis . . . . . . . . . . . . . . . . 238

RI.7.2, RI.7.3, RI.7.6, RI.7.10, L.7.4.c, L.7.6, RST.6-8.2, RST.6-8.4, RST.6-8.6, RST.6-8.8

RI.7.5, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RST.6-8.3, RST.6-8.4, RST.6-8.5, RST.6-8.7

RI.7.4, RI.7.5, RI.7.6, RI.7.8, RI.7.9, RI.7.10, L.7.5.a, L.7.5.b, RH.6-8.6

RI.7.2, RI.7.4, RI.7.8, RI.7.10, L.7.4.b, RH.6-8.2


RI.7.1, RI.7.4, RI.7.7, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RH.6-8.3, RH.6-8.4, RH.6-8.7

3

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

CC13_ELA_G7_SE_FM_TOC.indd 3 5/9/13 1:35 PMstudent ed it ion table of Contents v


Lesson 10: Primary and Secondary Sources . . . . . . . . . . . . 245

Genre Model: A Bright Future: From the Journal of Willie Oliver Cite Textual Evidence • Primary Sources . . . . . . . . . 248

Art for America Chronological Order • Secondary Sources . . . . . . . 256

Read on Your Own Two Accounts of the Apollo 11 Moon Landing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Tools

Graphic Organizers and Close Reading Worksheets

Lesson 1: Traditional LiteratureThe Boy Who Dreamed

Too Much . . . . . . . . . . . . . . . . . . . . . . .279

The Blue Jackal . . . . . . . . . . . . . . . . . . . . .281

Lesson 2: Historical FictionThe Collector . . . . . . . . . . . . . . . . . . . . . . .283

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail . . . . . . . . . . . . . .285

Lesson 3: DramaThe Lost River, Act 1 . . . . . . . . . . . . . . . . .287

The Lost River, Act 2 . . . . . . . . . . . . . . . . .289

Lesson 4: PoetryThe Lake Isle of Innisfree . . . . . . . . . . . . .291

The Ballad of King Arthur . . . . . . . . . . . .293

Lesson 5: Scientific TextsThe Puzzling Platypus . . . . . . . . . . . . . . .295

Discovering Deep-Sea Vents . . . . . . . . . .297

Lesson 6: Technical TextsHave a Ball! . . . . . . . . . . . . . . . . . . . . . . . .299

In the Subzero Closet . . . . . . . . . . . . . . . .301

Lesson 7: Persuasive NonfictionRFIDs in Our Future . . . . . . . . . . . . . . . . .303

Cashing in Our Chips . . . . . . . . . . . . . . . .305

Lesson 8: Literary NonfictionAnimal Instincts . . . . . . . . . . . . . . . . . . . .307

Talking the Talk . . . . . . . . . . . . . . . . . . . . .309

Lesson 9: Historical TextsWho Was King Arthur? . . . . . . . . . . . . . . .311

Child Monarchs . . . . . . . . . . . . . . . . . . . .313

Lesson 10: Primary and Secondary SourcesGenre Model: A Bright Future . . . . . . . . .315

Art for America . . . . . . . . . . . . . . . . . . . . .317

RI.7.1, RI.7.4, RI.7.5, RI.7.10, L.7.3.a, L.7.5.c, RH.6-8.1, RH.6-8.4, RH.6-8.5, RH.6-8.9


4

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

CC13_ELA_G7_SE_FM_TOC.indd 4 5/9/13 1:35 PMvi student ed it ion table of Contents


1LE

SS

ON

REa

d O

N Y

Ou

R O

wN

RES

pON

d

tO t

Ext

CLO

SE R

Ead

tO

gEt

hER

ObjECtivES SkiLLS

Student Edition Page

The Boy Who Dreamed Too

MuchPurpose for ReadingRead along with your teacher. Each time, read for a different purpose.












1

2

3

4

5

6

The



Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


8 •Drawandsupportinferences(RL.7.1)

•Analyzecharacterornarratorpointofview(RL.7.6)

•Usecontextcluestodeterminemeaning(L.7.4.a,L.7.4.d)

•DrawandSupportInferences•PointofView•ContextClues•RecognizeTraditionalLiterature

The Blue JackalPurpose for ReadingRead along with your teacher. Each time, read for a different purpose.

First Read Focus on summarizing.

Second Read Focus on figurative language.

Third Read Focus on evaluating the selection critically.

What important details about the jackal’s character on this page would you include in a summary? Record your summary on the Summarizing Chart.

Near a small village in India was a jungle filled with all kinds of animals. They lived in fear of the mighty lion, who ruled over them all.

One of the animals in the jungle was a sneaky, lazy jackal named Kakudruma. Instead of hunting with the other members of his pack, Kakudruma preferred to slink into the village and steal food from the humans’ gardens and homes and pick through their garbage piles.

He knew it was dangerous to go into the village, for if the humans caught him in their gardens, they would pelt him with rocks. Each time he went into the village, he also had to avoid the pack of dogs that lived there, for if they spotted him sneaking among the houses like a thief, they would attack and drive him from the village.

But Kakudruma was just too lazy to hunt for himself, and he loved human food too much, so he returned to the village again and again, willing to risk being caught. He especially loved baking day, when the women of the village set their breads and pies on the windowsills to cool. He would snatch a loaf and run into the jungle, hiding in the bushes while he gobbled it down.

All in all, Kakudruma was happy, for he had plenty of food, and he didn’t have to spend tiresome hours hunting for prey.

One bright afternoon, while the rest of the jackals were out hunting together, Kakudruma strolled to the village. He was content—the sun was smiling down on the world, and it was baking day—but suddenly, the village dogs spotted him, started howling, and set off after him.

Terrified, Kakudruma darted into the nearest house, the house that belonged to the village cloth maker and was filled with tubs of brilliant dyes in every color of the rainbow.

1

2

3

4

5

6

7

Where does the author use personification on this page?

The Blue Jackal


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


16 •Summarize(RL.7.2)•Identifyfigurativelanguage(RL.7.4)•Useathesaurustoclarifymeaning(L.7.4.c)

•Summarize•FigurativeLanguage•UsingaThesaurus•RecognizeTraditionalLiterature

Analyze Points of View

Respond to Text: Analyze Points of View“The Blue Jackal” is written from the third-person point of view by a narrator

who is outside the story. The jackal is the main character, and the author tells what happens mainly from the jackal’s point of view. However, the author also reveals the outlook and points of view of other characters. As the story unfolds, the reader sees the feelings, perspectives, and actions of several minor characters in addition to those of the main character. Through noticing what different characters say and do and how others react to them, the reader perceives their points of view.

Try It Think about the different characters in the story, and analyze how the author develops their points of view.

Discuss What do the different animals feel about what the jackal does? What changes do various characters undergo as a result of the jackal’s actions? How do their points of view change during the course of the story? How does the jackal’s point of view change from the beginning to the middle to the end of the story?

On Your Own There are several characters in this story—Kakudruma, the lion, the pack of dogs, the tiger, the wolf, and the pack of jackals. Write a paragraph analyzing how the author develops and contrasts the points of view and outlooks of the jackal and one other character in the story. Examine how the character’s point of view contrasts with the jackal’s during the course of the story. Use the guide on the next page to help you write your response. Then write your paragraph on a separate sheet of paper.

Checklist for a Good Response

A good paragraph

✔ begins with a strong topic sentence.

✔ includes details about the main character’s feelings and actions.

✔ includes details about one other character’s feelings and reactions.

✔ includes details about the way the characters’ points of view change in the story.

✔ ends with a conclusion that sums up the main points.


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


22 •Analyzehowanauthordevelopsandcontraststhepointsofviewofdifferentcharactersornarrators(RL.7.6)

•AnalyzePointsofView•WriteaResponse

Strife

Draw and Support Inferences What textual evidence leads you to infer that Agelus is a kind man? Underline them. The first one has been done for you.

Point of View Circle the words in the text that tell you this story is told in the third person.

In the times when the Greek gods and goddesses lived on Mount Olympus and mingled with mortals on Earth, King Priam and Queen Hecuba of Troy were awaiting the birth of their first child.

One night, Queen Hecuba woke up screaming in terror. “I dreamed that our child was a boy and that he had set fire to the whole city of Troy. Everyone died in the flames,” she sobbed.

King Priam told his brother, who was a seer,1 about his wife’s dream and asked for advice. His brother said, “The child will bring the destruction of Troy and the death of all its citizens. He must not be allowed to live, so as soon as he is born, have him killed.”

King Priam and Queen Hecuba wept, but when the baby was born, they called the herdsman Agelus. “Take this baby to Mount Ida and leave him to die,” they said. “He won’t survive the cold, and scavengers will eat his body. He must not live to destroy Troy.”

With a heavy heart, Agelus departed for Mount Ida with the infant. Halfway up the mountain, he placed the baby on a rock. Five days later, Agelus returned to make sure the infant was dead, but to his surprise, the baby was alive and looking at him with bright blue eyes.

“Well, look at you!” exclaimed Agelus in wonder. “I suppose if you’ve survived this long on your own, you aren’t meant to die yet. I can’t take you back to your parents, so I’ll raise you as my son.” Agelus did just that, naming the boy Paris. As he grew up, Paris became known throughout the land for his beauty, wit, and wisdom. It was obvious to everyone that he was of noble birth, and before long, his parents acknowledged him again as their son, despite the dire prophecy.

1

2

3

4

5

6

1 seer someone who can read the future

Read on Your OwnRead the myth independently three times, using the skills you have learned. Then answer the Comprehension Check questions.

First Read Practice the first-read skills you learned in this lesson.

Second Read Practice the second-read skills you learned in this lesson.

Third Read Think critically about the selection.

Strife


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC


24 •Drawandsupportinferences(RL.7.1)•Summarize(RL.7.2)•Identifyfigurativelanguage(RL.7.4)•Analyzecharacterornarratorpointofview(RL.7.6)

•Usecontextcluestodeterminemeaning(L.7.4.a,L.7.4.d)

•Useathesaurustoclarifymeaning(L.7.4.c)

•DrawandSupportInferences•Summarize•FigurativeLanguage•PointofView•ContextClues•UsingaThesaurus

© 2014 Triumph Learning, LLC


TR ADIT IONAL L I TER ATURE 1

CC13_ELA_G7_TE_L01_001-022.indd 1 5/9/13 4:16 PM

2 Lesson 1 • TR ADIT IonAL L I TER ATURE

MATERIALS

ReadeR-TexT-Task

ReadeR aNd Task

QU

aLIT

aTIV

e

QU

aN

TIT

aTIV

e

QUaLITaTIVe•Inferredactionormeanings;useofforeshadowing;storymeanttoteachalessonaboutbehavior;chronologicalstructure;conventionalvocabularyandsentencestructure;useofdialogue;domain-specificwordsrelatingtoshearingsheep;basicunderstandingofshearingsheepisrequiredforcomprehension

QUaNTITaTIVe•1060L

•Somestudentsmaynotbefamiliarwiththeruralsettingofthestory,butstudentswillbefamiliarwiththenarrativestructureand

arcofcharacterdevelopment.Studentswilldrawandsupportinferencesandanalyzecharacterornarratorpointofview.

SELECtiON a

SELECtiON b

ReadeR-TexT-Task

ReadeR aNd Task

QU

aLIT

aTIV

e

QU

aN

TIT

aTIV

e

QUaLITaTIVe•Inferredactions;storymeanttoteachalessonaboutbehavior;chronologicalstructure;useoffigurativelanguage;useofdialogue;slightlystylizedlanguage;readersmustsuspenddisbelief;littleknowledgeofthestory’ssettingisnecessaryforunderstanding

QUaNTITaTIVe•1040L

•Somestudentsmaybeputoffbythefantasticalelementsofthisselection,liketalkinganimals,buttheyshouldbefamiliar

withthe“trickster”storythatisintendedtoteachalesson.Studentswillsummarizeandidentifyfigurativelanguage.

iNdEpENdENt REadiNg, FLuENCY, aNd aSSESSmENt

ReadeR-TexT-Task

ReadeR aNd Task

QU

aLIT

aTIV

e

QU

aN

TIT

aTIV

e

QUaLITaTIVe•Inferredactionormeaning;chronologicalstructure;manyirrelevantdetailstothesummaryofthestory;multiplecharacters;slightlystylizedlanguage;readersmustsuspenddisbelief;despitebeingamyth,littleknowledgeofmythologyorthestory’scharactersisnecessaryforunderstanding

QUaNTITaTIVe•980L

•ThoughstudentsmightrecognizethecharactersfromGreekmythology,itssubjectmatterwillberemovedfromtheireverydayexperience.Studentswilldraw

andsupportinferences,analyzecharacterornarratorpointofview,summarize,andidentifyfigurativelanguage.

© 2014 Triumph Learning, LLC© 2014 Triumph Learning, LLC

The Boy Who Dreamed Too Much, Student Edition pages 8–12• DrawandSupportInferencesChart,StudentEditionpage279

• CloseReadingWorksheet,Student Edition page 280

The Blue Jackal, Student Edition pages 16–20• SummarizingChart,

Student Edition page 281• CloseReadingWorksheet,

Student Edition page 282

• ReadonYourOwn:Strife, Student Edition pages 24–28

• FluencyAssessment,Teacher’sManual pages 232–233

• Lesson1Quiz:Reading Comprehension Assessments


TR ADIT IONAL L I TER ATURE 3

Lesson 1

Traditional literature is

made up of stories that have been handed

down from one generation to the next. The

stories may contain animal characters who

talk and act like humans, foolish people or

animals who are taught important lessons,

or explanations for natural events like

earthquakes or lightning. Every civilization

has its own form of traditional literature,

and the stories can be broken down

into specific categories. Folktales are

timeless and placeless stories that can be

reworked slightly to fit a specific culture’s

needs. They involve universal human

desires, follies, and struggles, such as the

vanity of kings or tall tales about fantastic

characters. Myths tell legendary stories

of heroes and gods, while fables teach a

lesson, usually using animal characters

who speak and behave like humans. What

kind of story do you think this storyteller

is telling?


Skills FocusThe Boy Who Dreamed Too MuchDraw and Support Inferences Point of View

The Blue JackalSummarize Figurative Language

Traditional Literature 5

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC




Havestudentsreadtheinformationabouttraditionalliterature.Discussthefeaturesoftraditionalliterature,suchas•animalcharacterswhotalk;•foolishpeopleandanimalswhoaretaughtlessons;

•explanationsfornaturalevents.

Modelconnectingtraditionalliteraturetootherreadinggenres.Tellstudentsthatsometraditionalliteratureseemssimilartohistoricalfictionbecausebothtellstoriesaboutpeople.Historical fiction often features real events and real places. How is traditional literature different?

Thenencouragestudentstocomparefeaturesoftraditionalliteraturetofeaturesofliterarynonfiction.What are the similarities and differences between traditional literature and a biography?

Supporting Three Reads

•FirstRead:BeginwiththeDrawandSupportInferencesinstructiononStudentEditionpage6andTeacher’sManualpage4.Thenread“TheBoyWhoDreamedTooMuch.”

•SecondRead:ContinuewiththePointofViewinstructiononStudentEditionpage7andTeacher’sManualpage5.Thenread“TheBoyWhoDreamedTooMuch”again.

•ThirdRead:Continuebyreadingcritically“TheBoyWhoDreamedTooMuch”onStudentEditionpage8andTeacher’sManualpage6.

Repeattheprocesswith“TheBlueJackal”aftercompletingthefirstselection.



Practice the SkillFirst Read Draw and Support Inferences

When you draw an inference, you figure out something the writer implies but does not state directly. You draw the inference by reading what the writer says, looking for clues in the text, and using your own knowledge of how things work and how people often behave. In other words, you come to understand something the author means to convey, even though he or she does not state it directly.

The clues you find while reading are the textual evidence that supports your inference. For instance, if a character frowns, you might infer that she is unhappy about something, although the text doesn’t specifically say that she is. The frown is your clue—the textual evidence that supports your inference. Also, you know from your own experience that someone who is frowning is usually unhappy or upset. If you are reading a story or drama and a character enters the room laughing, you don’t need the author to tell you that the character is happy. You can infer it for yourself.

These examples are fairly easy. Sometimes inferences can be much more subtle, and you may infer incorrectly at first. That’s OK. Just keep reading and know that new information and plot events may make you infer something new.

Try It Read the paragraph below.

The princess shivered as she hid in the small cave. She knew the huntsman and his dogs were close at hand. She could hear their baying grow louder and louder. As she waited to be discovered, she wept silently and despaired of ever seeing her family again.

Discuss What can you infer about the scene? Why is the princess shivering? How is she feeling? Underline the textual evidence that supports your inference. Then, circle details that suggest why she is feeling the way she is. What is the reason?

As you read, complete the Draw and Support Inferences Chart on page 279.


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC



First Read:The Boy Who Dreamed Too Much

GotoTeacher’sManualpage6.

SuppORtiNg StRuggLiNg LEaRNERSObservation action

Studentshavedifficultymakinganinferenceabouthowtheprincessfeels.

Encouragestudentstoreadtheentireparagraph,identifyingmorethanonecluethattellshowtheprincessfeels.Thenhavethemdeterminehowthecluesfittogether.Detectives do not just find one clue and then solve the case. What might be another reason the princess shivers? Would she be crying if she were just cold?


First Read: Comprehension Skill Draw and Support Inferences

Readtheinformationaboutdrawingandsupportinginferencestogetherwithstudents.ThenreadaloudtheTry Itactivityandmodelhowtomakeaninference.

I want to find clues in the text that tell me what the princess is feeling.

How does the princess feel when she hears the baying dogs?

HavepartnerscompletetheDiscussactivityasyoucirculateandprovidesupport.

Discuss The princess feels . . . She feels this way because . . . I base my inference on . . .

Studentsshoulddrawandsupportaninference,makingsuretoincludetheideathattheprincessisfrightenedbecausethehuntsmanisafterher.(See pageannotations.)

Introduce the Draw and Support Inferences ChartHavestudentstearouttheDrawandSupportInferencesChartonpage 279 oftheirbooks.Explainthatastheyread,theywillbefillinginthischartwhenpromptedbytheorangefirst-readboxes.SeeTeacher’sManualpage11forasamplecompletedchart.


Practice the SkillSecond Read Point of View

Narrative point of view is the way a story is told. Authors usually tell a story in the first or third person. In a story told from the first-person point of view, the narrator is a story character who tells what happens using the pronouns I, me, us, or we. When an author uses third-person point of view, the story is told by an outside narrator who uses the pronouns he, she, or they to describe events.

Point of view also refers to the attitudes, perspectives, and outlooks different characters have in a story. Each character has a unique point of view that the author has to carefully develop, and characters’ perspectives very often change over the course of a story. By paying close attention to what characters say and do and how others react to them, you identify their particular points of view.

Try It Read the beginning of a short story.

Kate threw her pom-poms angrily onto the bed. “Everybody leave me alone!” she roared, slamming her bedroom door. The first day of cheerleading tryouts had been miserable. Every bone in her body ached, and she could still hear the chattering and giggling of the older girls who knew they’d make the squad. What’s the point, Kate fumed. It’s all a big popularity contest anyway, it’s all rigged—

Her phone rang. Oh, no! It was Aunt Patty calling! She’d been a cheerleader and had encouraged Kate to try out for the squad, insisting that girls were judged solely for their talent. How could she tell Aunt Patty that she planned to quit the tryouts even if she made it to the next round?

Discuss From what point of view is the story being told? Circle words in the first paragraph that show you. What is Kate’s outlook regarding cheerleading? What is Aunt Patty’s? What do you imagine happening as this story continues that could change Kate’s point of view? Keep in mind that her attitude could change for better or worse.

As you read, record your answers to questions about point of view and perspective on the Close Reading Worksheet on page 280.


Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC



Second Read:The Boy Who Dreamed Too Much

GotoTeacher’sManualpage6.


StudentshavedifficultydetermininghowKate’spointofviewmightchangeifthestorycontinued.

Askstudentstothinkoftwodifferentendingsforthestory:oneifshemakesthesquadandoneifshedoesn’t.What will her attitude be in each case? In what ways will her attitude and outlook change?

Second Read: Literary SkillPoint of View

Readtheinformationaboutpointofviewtogetherwithstudents.ThenreadaloudtheTry Itactivityandmodelhowtoidentifypointofview.

The pronouns her and she tell me that this story is told in third-person point of view by an outside narrator. Kate’s thoughts, words, and actions tell me how she is feeling about cheerleading.

Which words tell you Kate’s outlook on cheerleading?

HavepartnerscompletetheDiscussactivityasyoucirculateandprovidesupport.

Discuss Kate’s outlook on cheerleading is . . . Aunt Patty’s is . . . I imagine . . . will change Kate’s point of view.

StudentsshouldidentifythatKate’soutlookoncheerleadingisthatshewillnotmakethesquadbecauseonlythepopulargirlsgetchosen.(Seepageannotations.)

Introduce the Close Reading WorksheetHavestudentsusetheCloseReadingWorksheetonpage 280oftheirbooks.Explainthatastheyread,theywillbefillinginthisworksheetwhenpromptedbythegreensecond-readboxes.SeeTeacher’sManualpage11forasamplecompletedworksheet.

THE BOY WHO DRE AMED TOO MUCH 5



Purpose for ReadingRead along with your teacher. Each time, read for a different purpose.












1

2

3

4

5

6

The



Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC



The Boy Who Dreamed Too MuchSupporting Three Reads•FirstRead:Usetheorangeboxes.•SecondRead:Usethegreenboxes.•ThirdRead:Usetheblueboxes.

Draw and Support InferencesTool:DrawandSupportInferencesChart

Readaloudparagraphs1and2.Does Fritz think chopping firewood is easy or hard? Is there something else he would rather be doing instead?

Point of ViewTool:CloseReadingWorksheet

Rereadparagraphs3–5.Listen for the pronouns that help you identify the point of view. Is a character telling the story, or is someone outside the story telling it?

Critical Thinking

Explaintostudentsthatthethirdreadexploresadeepercomprehension.


Studentsincorrectlyidentifythepointofviewasfirstpersonbecauseofthepronoun Iinparagraph4.

Pointouttostudentsthatparagraph4isinquotationmarks.ThismeansthatFritzistalking.HeisusingthepronounI becauseheistalking.Remindstudentsthatfirst-personquotationscanappearinastorythatistoldinthird-personpointofview.Which pronouns are used in the rest of the paragraphs?


3

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

Contents

Lesson Quizzes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Practice Test 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Practice Test 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

CC13_ELA_G7_AS_PDF.indd 3 15/05/13 11:00 AM

4

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

QuizLE

SS

ON1

Read the passage and answer the questions that follow.

The Horse, the Hunter, and the Stagadapted from a fable by Aesop

1 There was a time, long ago, when the horse was not the domesticated animal he is today. Once, he ran wild with the other animals: his mane and tail waved in the breeze as he trotted in between the trees of the forest and galloped through the valleys wherever he pleased. Yet the horse was known not only for his beauty and grace, but also for his pride and arrogance. He could not bear to think that someone might have the upper hand, and he would go to any length to make sure that he was the victor in an argument.

Most often he clashed with the stag, who of all the animals most resembled him. The stag, too, could run with beauty and grace. He had no mane, of course, and it was true that his tail was not as beautiful as the horse’s. But the stag had one thing that the horse did not: beautiful antlers that branched out from his head and pointed toward the heavens. The stag did not particularly pride himself on his antlers; in fact, he thought very little about them at all. But the horse spent many days watching those antlers out of the corner of his eye. For the sake of those antlers, he hated the stag.

One day, the horse sauntered up to the stag, where he was drinking water from a little pool in the forest. Seemingly bending down to drink water next to the stag, he suddenly leaned with his shoulder and shoved the stag forward. The stag lost his balance and fell forward, his face splashing into the water. The stag had had enough; he pulled himself out of the water and challenged the horse with his antlers. Had the horse been another stag, the two would simply have locked antlers, pushing each other back and forth. But the horse had no antlers, so he could not defend himself from the sudden charge. A point on one of the stag’s antlers grazed the full length of the horse’s nose—but then, coming to his senses, the stag turned around and raced off into the forest.

The horse returned to the pool to wash his nose, and as he did so, he looked at his own reflection in the water. He realized bitterly that now there would always be a scar running down his beautiful nose like a crack in a porcelain vase. He seethed at the thought that there, for everyone to see, would be the humiliating proof that he had been bested by the stag. In that instant, he began planning his revenge.

5 The next morning, the horse did something the other animals would have found unthinkable: he went to the house of the hunter to ask for his assistance. “I have heard that you hunters have never been able to track down the stag,” said the horse, “for he runs far faster than your short legs can move. I myself can run as fast as the stag—and even faster—but I have no weapon to use against him. Let us work together to accomplish our mutual goal.”


5

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LCLesso

n Q

uizzesLesson 1 Quiz

The hunter agreed to the horse’s plan, but on one condition: “If we are to work together,” he said, “you must allow me to put this iron bit in your mouth, so that I may use these reins to guide you on the way. And you must permit me to place this saddle on your back, so that I may stay steady enough to aim properly.” The horse agreed, and soon, fully saddled and bridled, he was on his way to the forest with the hunter on his back.

With the speed of the horse beneath him, the hunter easily found and overcame the stag. The horse should have been terribly sad that he had betrayed one of the other animals, but he felt only triumph. Obeying the guidance of the hunter through the bit and the reins, he returned to the hunter’s house. “And now, friend,” he said to the hunter, “you must climb down and remove those things you have put in my mouth and on my back.”

“Friend,” said the hunter, “you have sadly misjudged the situation. Now that I have you saddled and bridled and under my command, I much prefer to keep you that way.” Then, the hunter led the horse to a stable by his home—and that is where horses have stayed to this day.

The moral of the story is that if you allow others to use you for your own purposes, they will use you for theirs.


6

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

Lesson 1 Quiz

1. Based on the details in the passage, what does the word domesticated mean?

A. peaceful and friendly

B. not free to live in the wild

C. having great beauty and grace

D. causing trouble with others nearby

2. Which detail BEST supports the idea that the horse is jealous of the stag’s antlers?

A. “The stag did not particularly pride himself on his antlers.”

B. “The stag had one thing that the horse did not: beautiful antlers.”

C. “The horse spent many days watching those antlers out of the corner of his eye.”

D. “Most often he clashed with the stag, who of all the animals most resembled him.”

3. Which is the BEST summary of the conflict between the horse and the stag?

A. The horse and the stag have an argument. The horse pushes the stag into the water. The stag injures the horse.

B. The horse pushes the stag into the water. The stag charges and scrapes the horse’s nose with a point of his antlers. The stag runs away.

C. The stag is drinking water from a little pool in the forest. The horse pretends to be drinking next to him. Suddenly he pushes the stag into the water.

D. The stag is standing next to the horse to drink water from a pool. The horse and the stag challenge each other, but the stag turns and races off into the forest.

4. Read the following thesaurus entry for the word seethe in paragraph 4.

seethe verb. be furious, be incensed, be mad, be on the warpath, breathe fire, hit the ceiling, see red, simmer, storm; ant. to be happy

Based on this entry, you can conclude that the horse is seething because he is

A. extremely angry.

B. not happy.

C. without reason.

D. confused and feeling sad.


7

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LCLesso

n Q

uizzesLesson 1 Quiz

5. Read this sentence from paragraph 4 of the passage.

He realized bitterly that now there would always be a scar running down his beautiful nose like a crack in a porcelain vase.

The comparison of the horse’s scar to “a crack in a porcelain vase” suggests that

A. a wound can grow even greater over time.

B. the horse’s nose will no longer work properly.

C. the horse’s nose is shaped like a porcelain vase.

D. a single flaw can ruin something rare and valuable.

6. Based on the horse’s actions after his conflict with the stag, you can conclude that he is MOST LIKELY

A. vain and cruel.

B. afraid of the hunter.

C. sad that he cannot defend himself.

D. worried about what other animals will think.

7. Read this sentence from paragraph 8 of the passage.

“Friend,” said the hunter, “you have sadly misjudged the situation.”

In what way has the horse “misjudged the situation”?


8

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

Lesson 1 Quiz

Read the passage and answer the questions that follow.

The First Moccasinsadapted from a Native American legend

1 In the old days, the people had no horses, nor did they need them, for their feet had become tough and hardy through years of running swiftly after the hunt. But there was once a chief who had feet with the softness and sensitivity of a baby’s skin. His official name was Chief Tallfeather, but behind his back the people called him Chief Tenderfoot.

Chief Tenderfoot was otherwise great and powerful, so no one dared to laugh at him. They tried very hard to keep a straight face as he hobbled by, delicately avoiding every twig and pebble in his path. But once he had passed, they imitated his hesitant steps with great enjoyment.

“I am becoming a laughingstock among my people,” said Chief Tenderfoot crossly to his medicine man one day. “Something must be done, and you are going to do it! By tomorrow, when the sun is at the same place, you must find a solution for my feet—or face the consequences!”

The medicine man left the chief’s longhouse feeling greatly troubled. He did not want to face any consequences, whatever they might be, but he could not understand why the chief was so upset. As long as he was still powerful, and there were still plenty of hunters to run through the forest for food, why was it so terrible that his feet were tender? “There are many among the people,” he thought, “who would even carry the great man where he needs to go. But he says that a chief must walk!” Then he stopped, for his own words had given him an idea.

5 That night, he enlisted the help of the women who were most skilled in weaving. They toiled through the night, and in the morning, the medicine man rolled out their handiwork before the chief. “I have thought of a way to solve your problem,” he said. “You will not step on the hard ground ever again; you will step only on this soft reed mat. Two of your braves can roll it out before you, and two can roll it up behind you, so that you will always have a soft path underneath your feet.”

The chief was delighted, and he decided to use the mat to join a hunting party the very next day. But as he was enjoying walking in comfort among his braves, he suddenly saw a deer moving through the trees to his right. Without thinking, or even watching where he was going, he turned and leaped off the mat toward the deer. His first steps landed right in the middle of a cluster of thorn bushes beside the path. “Ow, ow, ow!” howled the chief, holding his feet.

When Chief Tenderfoot finally returned to his longhouse, he summoned the medicine man immediately. “I am worse off now than before your great idea, medicine man!” raged the chief. “Your mat was not enough to save my poor feet—which even now are still stinging from those terrible thorns! So here is what you must do: you must make the mat stronger, so that even thorns cannot pierce it, and you must make a mat large enough to cover not only one path but the whole earth!”


9

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LCLesso

n Q

uizzesLesson 1 Quiz

“That is not possible, O great chief,” said the medicine man, trying to be reasonable. “It will have to be,” said Chief Tenderfoot sulkily, pouring cool water over his injured

feet. “You have one month to carry out the task—or you will die when the full moon rises.”10 The medicine man returned to his tent, but he could not sleep. He was cold with fear,

so he pulled his bed coverings of elk hide up to his chin. Then, he sat up straight, clutching the elk hide. Perhaps a mat of leather would satisfy the chief! But of course no one could make a mat large enough to cover the whole earth. Over the next weeks he thought and thought, but he could come up with no solution.

“Whatever can I do?” said the medicine man to himself on the last night before the full moon. “The task is impossible—even Chief Tenderfoot knows it! He wants a covering over the whole earth, but there is time only to make a very small one.” Then the medicine man looked up thoughtfully, for he had had another idea. He picked up his bed covering again, found a small knife, and got to work.

The next morning, the medicine man emerged from his home with only a small packet wrapped in deerskin. Smiling, he walked to Chief Tenderfoot’s longhouse. “What do you have for me?” said the chief hopefully.

“These,” said the medicine man, unwrapping the deerskin package and taking out what looked like two small leather sacks. Kneeling, he slipped them over the chief’s feet. The chief looked down in puzzlement and wiggled his toes.

“O great chief,” said the medicine man, “from this day forward, the whole earth—for you—will be covered in strong leather. Wherever you walk, whatever direction you take, your feet will be protected from the ground.”

15 Slowly, Chief Tenderfoot smiled. “Very good, medicine man,” he said, “it is a brilliant idea. But make sure that you make a pair for yourself, too—and for every one of my people—so that at last there will be no difference between the feet of my people and the tender feet of their chief.”


10

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LC

Lesson 1 Quiz

8. Which BEST summarizes Chief Tenderfoot’s situation at the beginning of the passage?

A. He is afraid that his feet will be injured, so people laugh at him even though he is a great chief.

B. He has the same feet as other people, but he is much more cautious, so people think he is being silly.

C. He must walk while others run or ride horses, even though he is a chief. For this reason, he is no longer powerful.

D. He is a great chief, but his feet are easily hurt, so he cannot walk or run fast. For this reason, people laugh behind his back.

9. Read this sentence from paragraph 1 in the passage.

But there was once a chief who had feet with the softness and sensitivity of a baby’s skin.

The author compares the chief’s feet to a baby’s skin to suggest that his feet

A. are always moving.

B. must be treated gently.

C. do not show signs of aging.

D. are much smaller than other feet.

10. Read the following thesaurus entry for the word sulk.

sulk verb. be in a huff, be morose, be silent, brood, grump, look sullen, mope; ant. grin, smile

Based on this entry, you can conclude that in paragraph 9 the chief is sulking because he is

A. crying uncontrollably.

B. out of breath.

C. very upset.

D. smiling wildly.

11. What does laughingstock mean as it is used in the passage?

A. someone who knows a joke

B. someone who is made fun of

C. someone who laughs frequently

D. someone who has a sense of humor


11

Dup

licat

ing

any

part

of t

his

book

is p

rohi

bite

d by

law

. © 2

014

Triu

mph

Lea

rnin

g, L

LCLesso

n Q

uizzesLesson 1 Quiz

12. Based on Chief Tenderfoot’s actions in the story, you can tell that he is

A. a cruel and wicked ruler.

B. a patient and intelligent chief.

C. irritable mainly because his feet hurt.

D. jealous of the hunters who can run in the forest.

13. How did the medicine man MOST LIKELY get the leather for the chief’s foot coverings?

A. He made them out of his bed covering.

B. He found them while he was out hunting.

C. He bought them from a nearby trading post.

D. He asked the women of the tribe to weave them.

14. In what ways do Chief Tenderfoot and the medicine man feel differently about the chief’s sensitive feet?


· pdf filecontents fiction lesson 1 ... the lake isle of innisfree / i wandered lonely as ......

Documents