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MultiplePathwaystoSuccess

Quarter3LearningModule

AlignedwithMarylandStateStandards

English

English9

PrinceGeorge’sCountyPublicSchools

BoardofEducationofPrinceGeorge’sCounty,Maryland

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Standards CCSS.ELA-LITERACY.RL.9-10.1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-LITERACY.RL.9-10.2: Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

CCSS.ELA-LITERACY.RL.9-10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

CCSS.ELA-LITERACY.RL.9-10.5: Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise. CCSS.ELA-LITERACY.RL.9-10.9: Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

CCSS.ELA-LITERACY.W.9-10.2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. CCSS.ELA-LITERACY.W.9-10.4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1-3 above.) CCSS.ELA-LITERACY.W.9-10.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

CCSS.ELA-LITERACY.L.9-10.1: Demonstrate command of the conventions of Standard English grammar and usage when writing or speaking. CCSS.ELA-LITERACY.L.9-10.2: Demonstrate command of the conventions of Standard English capitalization, punctuation, and spelling when writing. CCSS.ELA-LITERACY.L.9-10.3: Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

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PART 1- POETRY

Texts: “Sonnet 130”, Shakespeare’s Sonnet 18, St. Vincent Millay’s Sonnet 30, Barrett Browning’s Sonnet 43 1.1: Figurative language

Figurative language is using figures of speech to be more effective, persuasive and impactful. Figures of speech such as metaphors, similes, allusions go beyond the literal meanings of the words to give the readers new insights. On the other hand, alliterations, imageries, or onomatopoeias are figurative devices that appeal to the senses of the readers.

Poetry is a rich source of figurative language. Though there are examples of figurative language to be found in all genres of literature, perhaps none more than in poetry. Good poets pack worlds of meaning into tiny little lines. These lines evoke emotions, thoughts, and at times social change. One of the ways that poets perform these linguistic miracles is with the use of figurative language. Examples of figurative language include simile, metaphor, understatement, personification, and hyperbole.

Poetic Devices and Figurative Language 1. Hyperbole: Hyperbole is a figure of speech, which is an exaggeration. Persons often use expressions such as "I nearly died laughing," "I was hopping mad," and "I tried a thousand times." Such statements are not literally true, but people make them to sound impressive or to emphasize something, such as a feeling, effort, or reaction.

2. Pun: A pun is a play on words. A pun is defined by Webster as "the humorous use of a word, or of words which are formed or sounded alike but have different meanings, in such a way as to play on two or more of the possible applications; a play on words." There are different types of puns.

Some examples of puns are: I work as a baker because I knead dough. The cosmetic student was sick on the day of the final exam. Now she has to take a make up exam.

3. Alliteration: Alliteration is the repetition of the initial consonant. There should be at least two repetitions in a row. For example: Peter Piper picked a peck of pickled peppers. The first letter, p, is a consonant. It is repeated many times. (If you use a syllable rather than a consonant, it is assonance.)

4. Onomatopoeia: Onomatopoeia is the imitation of natural sounds in word form. These words help us form mental pictures about the things, people, or places that are described. Sometimes the word names a thing or action by copying the sound like Bong! Hiss! Buzz! For example: A pesky mosquito buzzed around my head.

5. Imagery: Imagery involves one or more of your five senses (hearing, taste, touch, smell, sight). An author uses a word or phrase to stimulate your memory of those senses.

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These memories can be positive or negative which will contribute to the mood of a poem. Imagery is the use of vivid description, usually rich in sensory words, to create pictures, or images, in the reader's mind. 6. Personification: Personification is a figure of speech in which objects are given human qualities. For example: The sun played peek-a-boo with the clouds.

7. Metaphor: A metaphor is a figure of speech in which things are compared by stating that one thing is another. For example: The clouds are cotton balls in the sky.

8. Simile: A simile is a figure of speech in which things are compared using the words “like” or “as”. For example: The surface of the water looked as smooth as glass.

9. Rhyme: Rhyme is the similarity in sound of the ends of words: the last stressed syllable and the following unstressed syllables (if any). Rhyme is usually a structuring device in verse. Of course, not all poetry rhymes: classical Greek and Latin poetry never rhyme, for instance. When rhyming verses are arranged into stanzas, we can identify the rhyme scheme by assigning letters each rhyme, beginning with a and proceeding through the alphabet. Couplets, for instance — such as Pope's: 'Tis hard to say, if greater want of skill Appear in writing, or in judging ill; But of the two, much greater is th' offence To tire the patience, than mislead the sense

— rhyme "aa bb," -- "a" represents the -ill sound, "b" represents the -ence sound.

10. Meter : The recurrence of a pattern of stressed and unstressed syllables.

11. Stanza a grouping of two or more lines of a poem in terms of length, metrical form, or rhyme scheme.

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1.1.1: Concept Check: Read Sonnet 130 below. Identify and underline instances of figurative language in the original version.

SONNET 130 PARAPHRASE

My mistress' eyes are nothing like the sun; My mistress's eyes are nothing like the sun;

Coral is far more red than her lips' red; Coral is far more red than her lips;

If snow be white, why then her breasts are dun;

If snow is white, then her breasts are a brownish gray;

If hairs be wires, black wires grow on her head.

If hairs are like wires, hers are black and not golden.

I have seen roses damask'd, red and white, I have seen damask roses, red and white [streaked],

But no such roses see I in her cheeks; But I do not see such colors in her cheeks;

And in some perfumes is there more delight And some perfumes give more delight

Than in the breath that from my mistress reeks.

Than the horrid breath of my mistress.

I love to hear her speak, yet well I know I love to hear her speak, but I know

That music hath a far more pleasing sound; That music has a more pleasing sound.

I grant I never saw a goddess go; I've never seen a goddess walk;

My mistress, when she walks, treads on the ground:

But I know that my mistress walks only on the ground.

And yet, by heaven, I think my love as rare And yet I think my love as rare

As any she belied with false compare. As any woman who has been misrepresented by ridiculous comparisons.

1.1.2: Reader’s Response: Identify at least two types figurative language from the original poem. (2 points) 1. ___________________________________________ Line #_______

2. ___________________________________________ Line #_______

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3. Now write an analysis on how Sonnet 130 uses figurative language to depict love or lack thereof for the intended mistress mentioned. Use details and examples from the poem to support your response. (4 points)

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1.2: Poetry Analysis 1.2.1: TP-CASTT: Analyzing poetry can sometimes seem like a difficult thing to do. Using the TP-CASTT strategy will help you accomplish this with some ease. TP-CASTT is an acronym for Title, Paraphrase, Connotation, Attitude/tone, Shift, Title (again), and Theme. Title Consider the title and make a prediction about what the poem is about. Ponder the title

before reading. Make up questions about the title. There are two kinds of titles: interactive titles and naming titles. Interactive titles are have some sort of interplay with piece itself and can affect its meaning. Naming titles may give less crucial information. If a piece lacks a title, you can do this step with the first line of the poem or skip it if allowed to do so. What do you think of when you first read the title?

Paraphrase

Translate the poem line by line into your own words on a literal level. Look for complete thoughts (sentences may be inverted) and look up unfamiliar words.

Connotation Examine the poem for meaning beyond the literal. Look for figurative language, imagery, and sound elements. (Examples: simile, metaphor, personification, hyperbole et cetera). What sensory details, images, or figures of speech can you find and interpret in the writing?

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Attitude/tone Notice the speaker’s tone and attitude. Humor? Sarcasm? Awe?

Shift Note any shifts or changes in speaker or attitude. Look for key words, time change, and punctuation. Note transitions in the poem (e.g. but, however, then, since, so, etc.). Examine punctuation (dashes, periods, exclamation points, etc.). Look at the white spaces. Note paragraph and stanza divisions or changes in sentence length. Locate any sharp changes in diction (word choice). All of these items may point to shifts in subject, attitude, tone, mood, or motif. Where does the tone and/or mood change? How does it change?

Title Examine the title again, this time on an interpretive level. Answer questions you may have from the first evaluation of the title. Figure out how the title illuminates the piece. Remember a "naming title" may not mean much. Remember you can do this with the first line of a poem if it lacks a title or you can skip this step altogether if allowed. Does the title have any special meaning? Does it have more than a surface-level meaning?

Theme Briefly state in your own words what the poem is about (subject), then what the poet is saying about the subject (theme). What universal experience or truth does the selection convey?

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1.2.2: Concept Check Read the following 3 poems, mark them up, and complete the attached TPCASTT chart for each one. (7points each analysis x3=21 points) Sonnet 18 “Shall I Compare Thee to a Summer’s Day” by William Shakespeare Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Title

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Attitude/tone

Shift

Title

Theme

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Sonnet 30 “Love is Not All” by Edna St. Vincent Millay Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again; Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; Yet many a man is making friends with death Even as I speak, for lack of love alone. It well may be that in a difficult hour, Pinned down by pain and moaning for release, Or nagged by want past resolution's power, I might be driven to sell your love for peace, Or trade the memory of this night for food. It well may be. I do not think I would Title

Paraphrase

Connotation

Attitude/tone

Shift

Title

Theme

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Sonnet 43 by Elizabeth Browning “How do I Love Thee” How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right. I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death. Title

Paraphrase

Connotation

Attitude/tone

Shift

Title

Theme

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1.3: Writing task Use what you have learned from reading Sonnet 18, Sonnet 30, and Sonnet 43 to write an essay that provides an analysis of how each poet writes about love. As a starting point, you may want to consider how each poet uses the sonnet form to convey ideas and meaning, what theme is expressed in each poem, and how specific language choices support each poet’s thoughts. Develop your essay by providing textual evidence from the poems. Be sure to follow the conventions of Standard 1.3.1: Writing breakdown Begin planning your essay with this outline.

• Introduction (paragraph1) – Hook – Background – Thesis statement

• Body Paragraphs – Discuss Shakespeare’s Sonnet 18 (paragraph2) – Discuss St. Vincent Millay’s Sonnet 30 (paragraph3) – Discuss Barrett Browning’s Sonnet 43 (paragraph4)

• Conclusion (paragraph5) 1.3.2: Essay Helper Complete this chart with information from the poems to help you plan your body paragraphs. (9 points) Poem Quote (cite line) Paraphrase How does this

quote support the author’s view on love?

Sonnet 18

Sonnet 30

Sonnet 43

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1.3.3: Essay Use what you have learned from reading Sonnet 18, Sonnet 30, and Sonnet 43 to write an essay that provides an analysis of how each poet writes about love. As a starting point, you may want to consider how each poet uses the sonnet form to convey ideas and meaning, what theme is expressed in each poem, and how specific language choices support each poet’s thoughts. Develop your essay by providing textual evidence from the poems. Be sure to follow the conventions of Standard English. (4 points) ________________________________________________________________________

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PART 2- NOVEL STUDY TEXT: “TO KILL A MOCKING BIRD” BY HARPER LEE

Novel summary In the town of Maycomb, Alabama, in the middle of the Great Depression, six-year-old

Scout Finch lives with her older brother Jem, and her widowed father, Atticus. Atticus is a lawyer, and makes enough to keep the family comfortably out of poverty, but he works long days. He relies on the family's black cook, Calpurnia, to help raise the kids.

Scout and Jem spend much of their time creating and acting out fantasies. One year a boy named Dill comes to spend the summer with his aunt, who is the Finches' neighbor. The three children become friends, and, pushed by Dill's wild imagination, soon become obsessed with a nearby house. A man named Nathan Radley owns the house, but it is his reclusive brother, Arthur (Boo) Radley, who interests and terrifies the children. On a dare, Jem actually runs up and touches the Radley house, and Scout is sure she sees someone watching them from inside behind a curtain.

The summer ends, and Dill returns to his hometown. Scout starts school, and hates it. On the first day, her teacher actually criticizes her for already knowing how to read. The highlights of the school year come when Scout and Jem occasionally find presents stuffed into a knothole of a tree next to the Radley's fence. Summer arrives, and Dill returns. The children grow more daring and sneak onto the Radley property. But Nathan Radley sees them and thinks they're thieves. They run, and Jem's pants get caught in the Radley fence. He leaves them behind. When he goes back to get them later that night, the pants are mended and folded. Meanwhile, Scout and Jem continue to find gifts in the knothole until Nathan Radley cements it shut. A few months later, in the dead of winter, the Finch's neighbor Miss Maudie Atkinson's house catches fire, and as Scout and Finch watch it burn someone Scout doesn't see puts a blanket around her shoulders. Jem realizes that Boo Radley must have done it.

That year, Atticus is appointed by the court to defend a black man, Tom Robinson, who is accused of raping Mayella Ewell, the daughter of a poor, notoriously vicious white man named Bob Ewell. Racial tensions in Maycomb flare. Scout and Jem become targets of abuse from schoolmates, neighbors, townspeople, and even some family members. In contrast, when Calpurnia takes the children to attend her black church, they are for the most part warmly received.

Before the trial starts, Atticus' sister Alexandra comes to live with the Finch's. Dill also arrives, after sneaking away from his mother and her new husband. Alexandra's social views are more conservative than Atticus's. She treats Calpurnia more like a servant than a family member and tries to make Scout act more like a girl. The day before the trial, a mob surrounds the jail where Tom Robinson is being held. Scout, Jem, and Dill, who have snuck out of their house, join Atticus, who anticipated the mob attack. Scout doesn't realize what's going on, but recognizes a man in the crowd and asks him about his son, who is Scout's classmate. The man, shamed, disperses the mob.

At the trial, Atticus presents a powerful defense of Tom and makes it clear that Ewell is lying. The children sneak into the trial and watch the proceedings from the balcony, where the black people are forced to sit. Jem is sure Atticus will win the case, but the all-white jury still convicts Tom. Jem is particularly hard hit by the verdict, and his faith in justice is even further shaken when Tom tries to escape from prison and is shot and killed.

Even though Robinson was convicted, Ewell is furious that Atticus made him look like a fool. One night, as Jem and Scout walk home alone from a Halloween pageant, Ewell attacks them. Jem's arm is broken, but someone rushes in to help. In the scuffle, Ewell is killed. The man who saved Jem and Scout carries Jem home, and Scout realizes that the man is Boo Radley. Heck Tate decides to keep Radley's involvement in Ewell's death quiet, and Scout walks Radley home.

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As Scout stands on the Radley porch, she sees the world as Boo must see it. When she gets home, Scout falls asleep as Atticus reads to her at Jem's bedside. PART 2.1: SETTING The setting is where the story takes place. It might include historical background, time, local color. Local color is characteristics that sets the place apart and makes it different from other places. Often the author doesn’t say the story takes place in a certain location, at a certain time, instead the author provides details describing the location and the time. It allows the readers to paint a picture in their mind. Activities: 2.1.1: Close Reading: Read this excerpt of Chapter 1 of “To Kill a Mockingbird” by Harper Lee and underline the portions of text which describe the setting. Chapter 1 When my brother Jem was almost 13 he broke his arm, badly. Even though it healed, we always talked about what really caused the accident. I said the Ewells, but he said Dill and Boo Radley started it. But then he said if our ancestors, the Finches had never moved to Alabama, then none of this would have happened, and the rest is history. We’re southerners. We think it’s a big deal who your family is, where you’ve come from, and what you’re known for. Our ancestor, Simon Finch, was a stingy and religious man. He saved up all his money to buy up Finch’s Landing, and for generations that’s where our family has lived. My Aunt Alexandra still lives here now with her quiet husband. My father Atticus Finch, went to Montgomery, Alabama to study law, and his brother Jack went to Boston to study to be a doctor. My father moved back to Maycomb once he finished law school. Maycomb was a tired, old town back in those days. People moved slowly, ambling across the town square. Days seemed long, especially on hot summer days. People didn’t hurry, because there was nowhere to go, nothing to buy, no money to buy it with, and nothing to see. We lived on the main street, Atticus, Jem, and I. Our father played with us, read to us, and treated us fine. We had a cook too, Calpurnia. She was strict with me. She always asked me why I didn’t behave as well as Jem. But he was older anyhow. She always won our battles; my father always took her side. Our mother died of a heart attack when I was two so I didn’t remember her. Jem seemed to miss her though. One day during the summer when I was six and Jem was nine, we were playing in our neighborhood as usual. We heard something in Miss Rachel’s garden. We found a boy sitting looking at us. He said, “I’m Charles Baker Harris. I can read.” “So what?” I said. Jem wanted to get a better look at him so he said, “Why don’t you come over, Charles Baker Harris.”

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“Folks call me Dill, “ he said, struggling to fit under the fence. Dill told us he was from Mississippi, but was spending the summer with his aunt Rachel. He had seen a bunch of movies, so he described them to us, and we spent the next days acting them out. He was very creative, and always had good ideas. We eventually got tired of recreating Dracula and other stories. That’s when Dill’s fascination with the Radley house began. The Radley house had sagging shingles, and a drooping porch. The grass was too high and the paint had turned gray and dingy. Even in the long, hot summer, the doors were shut up tight. There was a rumor that it was haunted. People said “Boo” Radley went out at night and peeped in people’s windows. That he breathed on flowers and they froze instantly. They said he committed little crimes in the night but not one ever saw him. The history of the story is that Arthur, “Boo”, got into a bad crowd in high school. They swore, fought, and got into real trouble when they locked a court officer in the outhouse (bathroom). Boo’s father was so strict that the judge let him take Boo home, and no one had seen him since. Years later, the story goes, Boo was making a scrapbook out of articles from the Maycomb Tribune when he stabbed his father with a pair of scissors, and kept right on cutting. Mr. Radley was not a nice man. He went to town each day but never spoke to us even if we said “Good Morning, Sir.” When he died, Calpurnia said, “There goes the meanest man God ever blew breath into.” The neighborhood thought maybe Boo would come out, but his older brother Nathan moved in and he was just as mean. Atticus didn’t like us to talk about the Radleys much, but the more we told Dill about the Radleys, the more he wanted to know. He would stand there hugging the light pole. “Wonder what he does in there,” he would murmur. “Wonder what he looks like?” Jem said Boo was six and a half feet tall, ate squirrels and cats, his teeth were yellow, and he drooled most of the time. “Let’s try to make him come out,” said Dill. Dill bet Jem to go up and knock on the door. Jem thought about it for three days. “You’re scared,” Dill said. “Ain’t scared, just trying to be respectful,” Jem said. Three days later, after Dill had taunted him and called him scared repeatedly, Jem finally gave in. He walked slowly to the Radley yard, threw open the gate, sped to the house, slapped it with his hand, and sprinted back to us. When we were safe on our porch, we looked back at the old, droopy house. We thought we saw a slight movement inside.

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2.1.2: Reader’s Response: Now reread the excerpt and answer the following questions. Make sure to cite textual evidence to support your answers. 1. PLOT: What is happening here? (5 points) ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________ 2. SETTING: How does the author describe the setting? What mood does the author’s description of the setting create? Cite explicit textual evidence to support your response. (5 points) ________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________

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PART 2.2: CHARACTERIZATION Characterization is a literary device that is used step by step in literature to highlight and explain the details about a character in a story. 1. Direct or explicit characterization This kind of characterization takes a direct approach towards building the character. It uses another character, narrator or the protagonist himself to tell the readers or audience about the subject. 2. Indirect or implicit characterization This is a more subtle way of introducing the character to the audience. The audience has to deduce for themselves the characteristics of the character by observing his/her thought process, behavior, speech, way of talking, appearance, and way of communication with other characters and also by discerning the response of other characters. Activities: 2.2.1: Close Reading: Reread the excerpt of Chapter 1 of “To Kill a Mockingbird” by Harper Lee and underline the names of each of the characters mentioned. 2.2.2: Reader’s Response: Now reread the excerpt and answer the following questions. Make sure to cite textual evidence to support your answers. 1: Character Traits: Who are the characters? List 5 characters that you underlined, and identify the character traits shown in this portion of text. Provide textual evidence for your response. (5 points)

Character Character Trait (physical /personal) Evidence

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2: Constructed Response: What do we know about these characters so far? How do we know? Use your notes from the chart in 2.2 and evidence from the text to support your response in a well-constructed paragraph. (5 points) ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ PART 2.3- SYMBOLISM

Symbolism is the use of symbols to signify ideas and qualities by giving them symbolic meanings that are different from their literal sense.

Symbolism can take different forms. Generally, it is an object representing another to give it an entirely different meaning that is much deeper and more significant. Sometimes, however, an action, an event or a word spoken by someone may have a symbolic value. For instance, “smile” is a symbol of friendship. Similarly, the action of someone smiling at you may stand as a symbol of the feeling of affection which that person has for you.

Symbols do shift their meanings depending on the context they are used in. “A chain”, for example, may stand for “union” as well as “imprisonment”. Thus, symbolic meaning of an object or an action is understood by when, where and how it is used. It also depends on who reads them.

In our daily life, we can easily identify objects, which can be taken as examples of symbol such as the following:

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• The dove is a symbol of peace. • A red rose or red color stands for love or romance. • Black is a symbol that represents evil or death. • A ladder may stand as a symbol for a connection between the heaven and the

earth. • A broken mirror may symbolize separation

Activities: 2.3.1: Close Reading: Read the excerpt of Chapter 10 of “To Kill a Mockingbird” by Harper Lee and underline the predominant symbol. Chapter 10 Atticus was old and feeble: he was nearly fifty. Jem and I were disappointed that he wasn’t more like the younger fathers in Maycomb. Atticus was always too tired to play football with Jem like the other dads. He wore glasses because he was nearly blind in his left eye. When he gave us our air-rifles Atticus wouldn’t teach us to shoot. Uncle Jack taught us and explained that Atticus wasn’t interested in guns. Atticus said to Jem one day, “I’d rather you shot at tin cans in the back yard, but I know you’ll go after birds. Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.” Later I asked Miss Maudie why Atticus said that. She said, “Your father’s right. Mockingbirds don’t do one thing but make music for us to enjoy. They don’t eat up people’s gardens; they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.” I complained to Miss Maudie that Atticus was too old to do anything. She said that he was a great lawyer and the best checker-player in town and that I should be proud of him. 2.3.2: Reader’s Response: Now reread the excerpt and answer the following questions. Make sure to cite textual evidence to support your answers. (6 points) What symbol is mentioned in this excerpt? Identify the symbol and then explain its significance. Make sure to support your explanation with textual evidence.

Symbol Explanation Evidence

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PART 2.4- CONFLICT

Definition of Conflict In literature, conflict is the result of competing desires or the presence of obstacles that need to be overcome. Conflict is necessary to propel a narrative forward; the absence of conflict amounts to the absence of a story. There are three main types of conflict identified in literature: man versus man, man versus nature, and man versus self. Note that these standard classifications use “man” as a universal term, including women as well. Let’s take a closer look at these three definitions of conflict. Man versus man: A situation in which two characters have opposing desires or interests. The typical scenario is a conflict between the protagonist and antagonist. This is an external conflict. Most thrillers and mysteries have this type of conflict. Man versus nature: In this type of conflict, a character is tormented by natural forces such as storms or animals. This is also an external conflict. Man versus self: This conflict develops from a protagonist’s inner struggles, and may depend on a character trying to decide between good and evil or overcome self-doubts. This conflict has both internal and external aspects, as obstacles outside the protagonist force the protagonist to deal with inner issues. Man versus society: In this type of conflict, a character must take on society itself, and not a single person. The character stands at odds with societal norms and realizes the necessity to work against these norms. This is an external conflict. Man versus fate: This situation results from a protagonist working against what has been foretold for that person. While this conflict was more prevalent in stories where gods could control fate, such as in ancient Greek dramas, there are still examples of this type of conflict in more contemporary literature.

Practice Activity: 2.4.1: Close Reading: Read this excerpt of Chapter 20 of “To Kill a Mockingbird” by Harper Lee and underline the portions of text which describe conflict. Chapter 20 Mr. Dolphus Raymond, the man who lives with a black woman and has mixed children, offered Dill a sip of his drink to settle his stomach. I said, “Dill, you watch out, now,” because I knew Mr. Raymond drank alcohol out of that bottle in the brown paper bag. Dill let go of the straw and said, “Scout, it’s nothing but Coca-Cola!”

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Mr. Raymond leaned up against the tree-trunk. “You little folks won’t tell on me now, will you? It’d ruin my reputation if you did.” “You mean all you drink in that sack’s Co-Cola? Just plain Co-Cola?” “Yes, ma’am,” Mr. Raymond nodded. I liked his smell: it was of leather, horses, and cottonseed. He wore the only English riding boots I had ever seen. “That’s all I drink, most of the time.” “Then you just pretend to be drunk? Why?” “Well,” Mr. Raymond said, “Some folks don’t like that I lie with a black woman since I’m white. So even though I don’t care what they think, I try to give ‘em a reason. It helps folks if they can latch onto a reason. When I come to town, which is seldom, if I weave a little and drink out of this sack, folks can say Dolphus Raymond is drunk on whiskey – and that’s why he won’t change his ways. He can’t help himself, that’s why he lives the way he does.” I told Mr. Raymond, “That ain’t honest, making yourself out badder than you already –“ “It ain’t honest but it’s mighty helpful to folks. Secretly, Scout, I’m not much of a drinker, but you see they could never, ever understand that I live like I do because that’s the way I want to live.” Mr. Raymond also said, “Dill was crying and feeling sick about the racism he saw in that courtroom. But when he gets older he won’t cry anymore.” Jem, Dill and I went back into the courtroom in time to hear Atticus’s closing statement. He was telling the jury… “Gentlemen, I remind you that this is a simple case. If you convict Tom Robinson, you must be sure beyond all reasonable doubt that he is guilty. This case should never have even come to trial. This case is as simple as black and white.” I noticed Atticus was sweating. “The state has not produced any evidence that Mayella was ever raped. Their two witnesses, Mayella and Bob Ewell, didn’t have their stories straight. The defendant is not guilty, but somebody in this courtroom is. I have pity for Mayella, but she has accused an innocent man to get rid of her own guilt. She feels guilt because she liked a black man and tried to kiss him. Our society does not allow this. Now she seeks to destroy him so that she doesn’t have to face her own guilt. She must destroy the evidence of her offense. Tom did not rape Mayella. All he did was try to get away when she kissed him. Don’t let your prejudices get the better of you and make you think he’s guilty just because he’s black.” As Atticus finished his speech we saw Calpurnia making her way up the middle aisle of the courtroom, walking straight toward Atticus.

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2.4.2: Reader’s Response: Consider each type of conflict, and explain how that conflict can be seen in “To Kill a Mockingbird”. Cite evidence form the excerpt above to support your explanations. (10 points) Type of Conflict Explanation Evidence from the text

Man vs. Man

Man vs. Nature

Man vs. Self

Man vs. Society

Man vs. Fate

PART 2.5 - ESSAY In Chapter 30, Heck Tate and Atticus Finch have a disagreement over how to handle Bob Ewell’s death. Atticus wants to follow the letter of the law, no matter how difficult it may be. Heck Tate, on the other hand, argues that what is right and what the law requires are not always the same thing. This activity helps you evaluate morality and legality and arrive at your own conclusions about which character is right or wrong.

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2.5.1. Reading Read these excerpts of Chapters 29 and 30. Chapter 29 Aunt Alexandra stood right up and gasped. “Are you sure?” Atticus said weakly. “He won’t hurt these children again,” Mr. Tate said. He turned to me. “Scout, can you tell us what happened out there? Did you see him following you?” “We started home. It was dark. Jem said, ‘Hush a minute.’ We thought it was Cecil Jacobs; he scared us once tonight. I could hear the footsteps too, then. They walked when we walked and stopped when we stopped. When we got under the tree, all of a sudden something’ grabbed me an’ mashed my costume. I heard them tusslin’. Jem grabbed me and pulled me toward the road. Some – Mr. Ewell yanked him down. There there was a noise – Jem hollered. Mr. Ewell was trying to squeeze me to death, I reckon… then somebody yanked Mr. Ewell down. Jem must have got up. Somebody was staggerin’ around and coughin’. I thought it was Jem but it was him.” I half pointed to the man in the corner. His arms were folded across his chest. He had sickly white hands that had never seen the sun. He face was white too; his cheeks were thin. His gray eyes were so colorless I thought he was blind. I gazed at him in wonder and his lips parted into a timid smile. Our neighbor’s image blurred with my sudden tears. “Hey, Boo,” I said. Chapter 30 “Mr. Arthur, honey,” Atticus corrected me. He then suggested that we go out on the porch. I led Boo to a chair. Atticus rubbed his head and said, “Well Heck, it was a clear cut self-defense, Jem is almost thirteen but it will go to trial in county court.” “Mr. Finch – Jem didn’t stab Bob Ewell,” said Heck Tate. “Bob Ewell fell on his knife. He killed himself.” Atticus looked like he didn’t believe Mr. Tate. Mr. Tate kept glancing at Boo. They went back and forth a few times, and they seemed to disagree. Mr. Tate told Atticus that if he told the town exactly what happened tonight the whole town would talk about it, and all the women would want to bring Boo cakes for helping Jem and me. “To take the one man who’s done you and this town a service and draggin’ him with his shy ways into the limelight is a sin.” Mr. Tate stomped off the porch, and Atticus slowly turned to me. “Scout, Mr. Ewell fell on his knife. Can you possibly understand?” I hugged him and said, “Yes,sir. Mr. Tate was right, it’d be sort of like shootin’ a mockingbird.” Atticus rubbed my head and then walked across the porch to Boo. “Thank you for my children, Arthur.”

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2.5.2. Essay: Review Heck’s and Atticus’ discussion. In the space below, agree or disagree with Heck Tate’s position. In a well-constructed essay, explain your choice to agree or disagree. Make sure to include reasons and cite textual evidence to support your answer. (4 points) ________________________________________________________________________

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PART 6: ESSAY SCORING RUBRIC CriteriaEvaluated

4PointsClearlymeetsstandard

3PointsAttemptstomeetstandard

&isfairlysuccessful2Points

Makesefforttomeetstandardbutwithlittle

success

1PointDoesnotachievethis

standardAddressestheprompt

Clearlyaddressesallpartsofthewritingtask

Addressesallpartsofthewritingtask.

Addressesonlypartsofthewritingtask.

Doesnotachievestandard

Understandingofpurposeandaudience

Demonstratesaclearunderstandingof

purposeandaudience

Demonstratesageneralunderstandingof

purposeandaudience

Demonstrateslittleunderstandingof

purposeandaudience

Demonstratesnounderstandingofpurposeandaudience

Consistentpointofview,focus,andorganizationalstructureincludingeffectiveuseoftransitions

Maintainsaconsistentpointofview,focus,andorganizationalstructure,includingeffectiveuseof

transitions

Maintainsamostlyconsistentpointofview,focus,andorganizationalstructure,includingeffectiveuseofsome

transitions

Maintainsaninconsistentpointofview,focus,andorganizational

structure,whichmayincludeineffectiveorawkwarduseofsome

transitions

Lacksapointofview,focus,organizational,andtransitionsthatunifyimportant

ideas.

Clearlypresentedcentralideawithrelevantfacts,details,explanations

Includesaclearlypresentedcentralideawithrelevantfacts,details,and/orexplanations

Presentsacentralideawithmostlyrelevantfacts,details,and/or

explanations

Suggestsacentralideawithlimitedfacts,details,andor

explanations.

Lacksacentralideabutmaycontainmarginallyrelatedfacts,detailsorexplanations.

Sentencestructure

Includesavarietyofsentencetypes

Includesavarietyofsentencetypes

Includeslittlevarietyinsentencetypes.

Includesnosentencevariety

Englishlanguageconventions

Containsfew,ifany,errorsintheconventionsoftheEnglishlanguage(grammar,punctuation,capitalization,spelling._Theseerrorsdonotinterferewiththe

reader’sunderstandingofthewriting

ContainssomeerrorsintheconventionsoftheEnglishlanguage,buttheydonotinterferewiththereader’s

understandingofthewriting.

Containsseveralerrorsinthe

conventionsoftheEnglishlanguagethatmayinterferewith

thereader’sunderstandingofthe

writing.

Containsseriouserrorsinthe

conventionsoftheEnglishlanguagethatdointerferewiththe

reader’sunderstandingofthe

writing.

NarrativeWritingPlotline

Providesathoroughlydevelopedplotline,includingmajorandminorcharactersanda

definitesetting

Providesanadequatelydevelopedplotline,includingmajorandminorcharactersanda

definitesetting.

Providesaminimallydevelopedplotline,includingcharacters

andasetting.

Lacksadevelopedplotline.

Strategies

Includesappropriatestrategies:dialogue,

suspense,andnarrativeaction.

Includesappropriatestrategies:dialogue,

suspense,andnarrativeaction.

Attemptstousestrategiesbutwithminimaleffectiveness

Failstousestrategies.

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PART 7: LEARNING MODULE GRADING SHEET

MODULE SECTION POINTS EARNED

1.1.2: Reader’s Response _____/6

1.2.2: Analysis – TP-CASTT _____/21

1.3.2: Essay Helper _____/9

1.3.3: Essay _____/4

2.1.2: Reader’s Response:

1. Plot: _____/5

2. Setting: _____/5

2.2.2: Reader’s Response:

1. Character traits: _____/5

2. Constructed Response: _____/5

2.3.2: Reader’s Response:

_____/6

2.4.2: Reader’s Response _____/10

2.5.2. Essay _____/4

Total points _____/80