Unit Plan:

French Poetry, Past and Present

Unit Overview and Description: Grade 10 Academic French Immersion

In this unit on French poetry, students will learn to analyze and interpret poems from the past to
the present. Although this unit revolves primarily around one nineteenth-century French play, it
will feature discussions (about other artistic media, themes, concepts, etc.) that invite students
to consider how poetry, as an expressive medium, has changed throughout history. The central
text, Cyrano de Bergerac (1897) by Edmond Rostand (1868-1918), will serve as an anchor for
practicing literary analysis and an examination of its classical verse (written in rhyming
couplets of twelve syllables per line known as classical Alexandrine form). It will serve as a
springboard for discussing French literary history (because it is set in 1640, at the dawn of
Louis XIV’s reign) while inviting students to think critically about the text’s central themes
(appearance versus reality, love, self-esteem, and loyalty) and how we might interpret them
today.

Before delving into Cyrano de Bergerac, students will explore a number of French poems by
Jean de La Fontaine (1621-1695) and Paul Verlaine (1844-1896) as well as the works of
modern-day songwriters Stromae, Camélia Jordana and Montréal’s own Coeur de Pirate. By
examining the work of contemporary musicians students may be familiar with, they will be
able to appreciate one of the more common forms of poetry today (in the form of musical
lyrics). The goal during this discussion is to show how poetry is a product of its time. As a
result, Lesson 2 will specifically explore the societal and political statements in the three
selected works by Stromae, Camélia Jordana, and Coeur de Pirate. Students will discuss the
lasting, intergenerational trauma of the Rwandan Genocide (Stromae), the Algerian war
(Camélia Jordana) and feminism in the wake of the #metoo movement (Coeur de Pirate).
Because many older (yet important and indeed canonical) French texts only broach Western
themes, including works by artists who hail from la francophonie (French-speaking countries
around the world), such as Belgium, Algeria and Canada, is as paramount as it is to incorporate
social justice.

The early lessons in this unit (Lessons 1 & 2) serve as an introduction or review terms and
concepts related to literary analysis (such as word choice, use of metaphors, allusions, allegory,
rhyme, metre, etc). During this time, students will also consider various applications of
grammatical tenses (présent, imparfait, passé simple, passé-composé, conditionel, subjonctif,
etc…) to see how artists employ them to give shape and infuse meaning into a text. Although
grammar is not part of the learning objectives for this unit, it will inevitably be discussed and
serve as a springboard for subsequent grammar lessons/units. Writing is a component of both
assessments of learning for this unit.

Poetry is musical, performative and can also have a visual component. Consequently, this unit
draws directly from the creative process outlined in the arts curriculum. Incorporating the arts
gives students opportunities to experience contemporary music, view visual artworks, consider
the meaning behind specific dances/choreography to invite them to think critically about the
existing relationship between various different forms of art and how meaning is made and
interpreted. Ultimately, this unit asks students to consider how this expressive medium has
changed over time as the picture of francophonie (what it means to speak French today)
continues to change. By choosing a play written in verse, this unit invites students to go beyond
the words written on a page to consider bigger ideas such as
- How has the artist(s) conveyed an idea or emotion?
- How is the story/idea being told? What has/has not made it effective?
- How do you feel about the poem? Its form, medium, message?

Poetry is a powerful mode of expression. It conveys ideas, expresses emotions,

Big Idea/ tells stories and connects us to worlds, past and present.
Essential
Question What is this poem saying? How does the artist choose to convey their
thoughts/emotions? How does the poem make YOU feel? Why?

What are Overall Expectations (FSL, Grade 10 Academic):

students Listening:
expected to A.1 Listening to Understand: determine meaning in a variety of oral French
learn? texts, using appropriate listening strategies;
A.2 Listening to Interact: interpret messages accurately while interacting in
French for a variety of purposes and with diverse audiences;
A3. Intercultural Understanding: demonstrate an understanding of
information in oral French texts about aspects of culture in diverse
French-speaking communities and other communities around the world, and of
French sociolinguistic conventions used in a variety of situations and
communities.

Speaking:
B1. Speaking to Communicate: communicate information and ideas orally
in French, using a variety of speaking strategies, appropriate language
structures, and language appropriate to the purpose and audience;
B2. Speaking to Interact: participate in spoken interactions in French for a
variety of purposes and with diverse audiences;

Reading:
C1. Reading Comprehension: determine meaning in a variety of authentic and
adapted French texts, using a variety of reading comprehension strategies;
C2. Purpose, Form, and Style: identify the purpose(s), characteristics, and
aspects of style of a variety of text forms, including literary, informational,
graphic, and media forms;
C3. Intercultural Understanding: demonstrate an understanding of
information in French texts about aspects of culture in diverse French-speaking
communities and other communities around the world, and of French
sociolinguistic conventions used in a variety of situations and communities.
Writing:
D1. Purpose, Audience, and Form: write French texts for different purposes
and audiences, using a variety of forms and knowledge of language structures
and conventions of written French appropriate for this level;
D2. The Writing Process: use the stages of the writing process – including
pre-writing, producing drafts, revising, editing, and publishing – to develop and
organize content, clarify ideas and expression, correct errors, and present their
work effectively;

Cross-Curricular Connections:

English (Grade 10, Academic):

Reading and Literature Studies
1. Reading for Meaning: read and demonstrate an understanding of a variety of
literary, informational, and graphic texts, using a range of strategies to construct
meaning;
2. Understanding Form and Style: recognize a variety of text forms, text
features, and stylistic elements and demonstrate understanding of how they help
communicate meaning;

Media Studies
1. Understanding Media Texts: demonstrate an understanding of a variety of
media texts;
2. Understanding Media Forms, Conventions, and Techniques: identify some
media forms and explain how the conventions and techniques associated with
them are used to create meaning;

The Arts (Grade 10)

A. The Creative Process (Across Dance, Drama, Integrated Arts, Media
Arts, Music & Visual Arts)
A1. The Creative Process: apply the creative process to create a variety of art
works, individually and/or collaboratively;

B. Reflecting, Responding and Analysing (Across Dance, Drama,

Integrated Arts, Media Arts, Music & Visual Arts)
B1. The Critical Analysis Process: demonstrate an understanding of the
critical analysis process by
examining, interpreting, evaluating, and reflecting on various art works;

B2. Art, Society, and Values: demonstrate an understanding of how art works
reflect the society in which they were created, and of how they can affect
personal values;
(This is the overall expectation for visual art, but section B2 generally focuses
on understanding the social context of that work of art, which is a skill relevant
to our unit on poetry.)
How will Assessment of Learning:
student
demonstrate Cyrano and Roxane Through Music (10 points)
their learning?
In a think-pair-share, students will consider Cyrano and Roxane’s respective
dispositions, temperaments, and mentalities towards love and life. Working
individually, they will then write a paragraph (at least 6 sentences) contrasting
Cyrano and Roxane. To accompany their compositions, they will select a piece
of classical or wordless music they feel articulates this relationship (and
tension), justifying their reasoning in a second paragraph (at least 3 sentences).

Culminating Task of Unit: Literary Analysis through the Arts (50 marks)

Students will choose one of the following culminating tasks and may work
independently or in groups (no more than 4) depending on the option they
choose. In each of these options, students should try to make their creativity
piece relevant to today’s society either in its message or medium. (Ex: you
might want to make a digital artwork as opposed to a painting; choose
modern-day props for your tableau; or rap your speech. The idea is that we find
contemporary ways of expressing important messages as we saw when looking
at the three music videos in Lesson 2).

1) Choose a scene from Cyrano de Bergerac and illustrate it visually (can

be abstract, non-figurative) and write a 500-word reflection that includes
a literary analysis of 3 key lines. The reflection should also discuss the
major theme of the scene and explain how their artwork expresses one or
multiple messages discussed in the analysis. (Individual)

2) Choose a scene from Cyrano de Bergerac and perform it as a tableau

vivant (either in class or take a photograph) and write a 500-word
reflection that includes a literary analysis of 3 key lines. The reflection
should also discuss the major theme of the scene and explain how the
tableau vivant expresses one or multiple messages discussed in the
analysis. (Group)

3) Choose a speech (at least 12 lines) from Cyrano de Bergerac and recite)
it to a piece of classical music (or any type of wordless music), which
you will play while reciting in front of the class. Write a 500-word
reflection that includes a literary analysis that breaks down the poem’s
meaning and explains how the wordless song reflects one or multiple
messages discussed in the analysis. (Individual)

Assessment as/for Learning:

 Students will demonstrate their understanding throughout the unit with a series
of tasks that mirror the types of smaller, collaborative group activities begun
during class. Many of these assignments will be viewed by the instructor, who
will provide written feedback and guidance. The unit also includes various
opportunities for think-pair-shares, placemat activities, give one, get one, move
on (GoGoMo) and a round-robin peer-feedback. By honing their ability to offer
constructive feedback, students will hopefully better assess gaps in their own
learning. During this unit, space/time has been made to invite students to
collaborate on defining the success criteria for their culminating task in the
hopes that they are clear and that the assignments feel relevant to their learning.
These strategies are also employed at strategic moments throughout the unit to
build confidence and invite metacognition in leading up to the culminating task
to ensure student learning and success.

Overview of Lessons: How will assessment and instruction be organized for learning?
Unit Overview

Lesson Summary Assessment as & for Learning

Strategies
Lesson 1: What is French Poetry? Checkpoint:
In this lesson students will be introduced to the topic of
French poetry, beginning with a short Minds On by Assessment AS/FOR learning:
discussing the meaning of a quote as a class. They will
then view a short lecture-style presentation about the Teacher will read over consolidation
history of some of the French poetry, which will activities (the one-minute thesis) to see
explain certain important styles and literary devices that whether students are beginning to apply
will be covered throughout the unit. As a class, the what they learned about literary devices.
teacher will read La cigale et la fourmi (1668) by Jean It will also serve as an informal
de la Fontaine and discuss its meaning. The teacher will assessment of how comfortable students
model a line-by-line close reading. In groups, students feel analyzing poetry. It will be part of a
will read the short poem by Le ciel, par-dessus le toit… completion mark.
(1881) by Paul Verlaine. They will look up words they
do not know and work through its meaning. As a
consolidation activity, students will be asked to write
and submit before the end of class a one-minute thesis
identifying one literary device in Verlaine’s poem and
explaining how it gives meaning to the line or poem on
the whole.
Lesson 2: Poetry in Music (focus on listening) Checkpoint:
In contrast to the previous lesson, this class considers
present-day applications of poetry, specifically in the Assessment AS/FOR learning:
form of popular French music from la francophonie. As
a minds on, students will be asked to brainstorm ideas
(in a think-pair-share) about the relationship between Teacher will offer feedback about the
poetry and music. The class will then listen to the comments and reactions to listening to
music of Stromae, specifically the song Papaoutai, and Coeur de Pirate’s music and seeing the
then read the lyrics in groups. Working together, video for T’es belle. Teacher will be
students will be asked to re-read Stromae’s words and looking specifically to see whether
record on a placemat how the song hints at the artist’s students are able to identify literary
strained relationship with his father, who abandoned devices but also to make broader
him and his family in the wake of the Rwandan connections to current socio-political
genocide. The teacher will ask volunteers to share their issues. It will be part of a completion
group’s findings. Students will then view Camélia mark.
Jordana’s performance of Facile at the Victoires de la
Musique, 2021) and return into their groups to discuss
the relationship between the song’s message (they will
then have/be able to read the lyrics) and her delivery.
As a consolidation activity they will be asked to join
another group to do a quick “give one, get one, move
on” (GoGoMo) activity, where they will hear, comment
and suggest new ideas to their peers about the ways in
which Stromae and Camelia Jordana broach important
personal/political themes in their oeuvres.

Lastly, the teacher will introduce an assignment

requiring students to view Coeur de Pirate’s music
video for T’es belle and write a paragraph (for
homework) that discusses 3 literary devices she uses in
her song and how the images shown in her music video
reinforce these ideas.
Lesson 3: Intro & Cyrano de Bergerac (Act 1) Checkpoint:
As a minds on, the teacher will show a quick
powerpoint presentation of the play’s setting (France, Assessment AS/FOR learning:
1640s) and introduce students to the form and structure
of Alexandrine poetry. As a class, they will read Act 1, In this case, assessment strategies will
pausing with the teacher, who models how to primarily take the form of observations,
deconstruct Alexandrine phrasing, rhyme and how the questions and prompts (particularly
author employs literary devices to express meaning during oral reading and oral
(particularly when Cyrano references his iconic big communication).
nose). As an activity, students will create a mind map
about the main characters encountered in Act 1 and Teacher will also review the exit tickets
their traits (physical, personality, social status, etc.). As to comment on writing (grammar,
a consolidation, the teacher will ask students to submit spelling and style). It will be part of a
an exit ticket (3 sentences) about the meaning behind completion mark.
Cyrano’s iconic nose and what that means for the
protagonist. (They should understand from the verses
that his nose is his antagonist.)
Lesson 4: Cyrano de Bergerac (Act 2)
This lesson revolves around the iconic interactions
between Cyrano and his unrequited love, Roxane (Act
2, Scene 3). As a minds on, the teacher will ask one or
two students to recapitulate the story. Class will then
read Act 2 together, pausing for the teacher to model
how to deconstruct Alexandrine poetry and literary
devices. As an activity, the teacher will assign a
character analysis of Cyrano as a think-pair-share. In
groups of two, they will begin thinking about Cyrano
and Roxane’s respective dispositions, temperaments,
and mentalities towards love. They will then write a
paragraph (at least 6 sentences) contrasting Cyrano and
Roxane. To accompany their compositions, they will
select a piece of classical or wordless music they feel
articulates this relationship, justify their reasoning in a
second paragraph (at least 3 sentences). As a
consolidation, the teacher will ask volunteers to share
their choice and explain their reasoning.
Lesson 5: Cyrano de Bergerac (Act 3, the climax)
This lesson revolves around the climax of the play (Act
3, scene 1) when Cyrano accepts his unrequited love
and tells the handsome Christian precisely what to say
to the beautiful Roxane to make her fall in love with
him. As a minds on, the teacher will ask one or two
students to predict what they think might happen to
Cyrano and Roxane becomes better acquainted with
Christian. (Prompt: Will she really love him for his
pretty face?) Action: Students will read Act 3, Scene 1
in small groups. Each member will read for a certain
role. After reading, students will work together to
complete the student task, which requires them to
research any words/expressions they do not understand
and place the caesura and count the alexandrine
syllables of the most powerful line of the scene (their
choice). In a paragraph they must state why their group
chose this line as the most powerful of the scene. As a
consolidation, students will return their group copies to
the teacher who will re-distribute them to other groups
in the class. Students will be asked to comment on their
classmates’ rationale and correct any grammatical or
spelling errors.
Checkpoint:
Assessment OF learning:
Teacher will grade the paragraph on
character analysis of Cyrano de
Bergerac out of 10 marks. Rubric and
Success Criteria will be provided. This
evaluation will serve to give important
feedback prior on literary analysis prior
to the culminating task, particularly in
relation to the selection of music.
See Rubric with Success Criteria
Checkpoint:
Assessment AS/FOR learning:
In this case, assessment strategies are
conducted primarily by doing. By
working with peers, sharing groupwork
with their peers, students are able to
deepen their knowledge and receive
valuable feedback from the teacher and
their classmates. Furthermore, by
commenting on their classmates’ work,
students are asked to think critically
about the text and their own
understanding. Teacher will then view
both what students wrote and how they
commented on their peers’ rationale.
Lesson 6: Viewing first half of recording of Cyrano Checkpoint:
de Bergerac
This lesson is meant to punctuate the unit, and offer a Assessment AS/FOR learning:
moment of recalibration for students needing support
visualizing the plot of the story and understanding the In this case, assessment strategies will
performance of the play. Watching the film is an primarily take the form of observations,
opportunity for students to see Rostand’s comedic questions and prompts. (Particularly
genius as he stages the “ugly” Cyrano whispering his with regard to oral reading and speaking
eloquent and enticing poetry to the strapping Christian, capabilities.)
who takes them for his own as he proclaims his
(Cyrano’s) love for Roxane. By viewing the first half of
the film, visual and kinetic learners may see the play
come to life, giving them a better grasp of the
relationship between poetry and performance. This
lesson also echoes earlier conversations regarding the
works of Stromae, Camélia Jordana, and Coeur de
Pirate because it invites students to think about the
relationship between language and other media (such as
music, dance, images, etc). It is intended for students to
see how a dramatic performance can bring a poem to
life and reinforce meaning. As a consolidation, students
will compare the theme of beauty as discussed in
Cyrano de Bergerac (thus far) and Coeur de Pirate’s
song T’es belle. The teacher can write these ideas on
the board in the form of a mind map for the class to
copy. This activity is meant to encourage students to
think critically about past and present ideals of beauty
and their relationship to gender, worth, power and
prominence.
Lesson 7: Cyrano de Bergerac (Act 4) Checkpoint:
This lesson delves into Act 4. As a minds on, the
teacher will ask one student to recapitulate the plot of Assessment FOR learning:
the play and another student to share a few main themes
that are emerging as the story unfolds. They will then In this case, the focus on carving out the
ask another student to make a prediction about the success criteria for the culminating
ending. The class will read Act 4 together, pausing for assignment at the end of class, focuses
the teacher to model how to deconstruct Alexandrine on assessment for learning because it
poetry and literary devices. The teacher will also begin requires students to think about where
inviting volunteers to analyze the text in front of the they want to be with their learning and
class (form and/or meaning). where they would like to be by the end.

The latter half of the class will be devoted to

introducing the culminating task. The teacher and
students will co-construct the success criteria and
expectations together so that it is clear and the whole
class agrees on how the assignment will be graded. The
teacher will guide their thinking to include the points
listed below.
Lesson 8: Cyrano de Bergerac (Act 5) Checkpoint:
Teacher will recapitulate the play and discuss main
themes going into the final act. Class will read the end Assessment AS/FOR learning:
of the play together. Rather than modeling any kind of
thematic or literary analysis, the teacher will ask During the reading of the last act, the
volunteers to share their analyses aloud. If no one teacher will pause in strategic places to
wishes to volunteer, the treacher can draw names from invite students to analyze the text on the
a jar (of course, everyone has the right to pass). The spot. They will then ask peers to
idea with this activity is that students practice analyzing comment on these ideas (do you agree?
as a collective and bouncing ideas off their peers. As Disagree? Why?) in addition to offering
the story concludes, students will (hopefully) want to their own feedback. The teacher can
discuss broader themes and will feel more confident in also discuss what qualities of each
analyzing Alexandrine poetry. As a consolidation, response might correspond to a Level 2,
students do a “So What?” activity, using a theme from 3, or 4 analysis.
the course and explaining in one or two sentences why
or how it’s relevant today.
Lesson 9: Finishing the Film, Cyrano de Bergerac Checkpoint:
Teacher will play the end of the film for the class. As a
student activity, the teacher will ask students to do a Assessment FOR learning:
think-pair-share and discuss one way the film deviated
from the way they imagined the story while reading it In this case, assessment strategies will
in class. Inviting students to put on their “criticality primarily take the form of observations,
cap”, the teacher will ask them what they did not like questions and prompts.
about the way the film portrayed the play. (What does
not translate from play to film? What are some
limitations of each medium? What might be more
effective?) Teacher will ask volunteers to share some of
their ideas for the class.

This will lesson is strategically placed to ensure

students have a performance of the play to refer to prior
to the submission of their culminating task
(homework). It also offers the teacher time to answer
student inquiries about the culminating task or the play
more generally. If the film extends over two periods,
the teacher may give students the chance to work on
their assignment in class.
Lesson 10: Culminating Task Checkpoint:
Students will be asked to submit their written
assignment at the beginning of class, prior to the Assessment of Learning:
presentation (either an artwork, tableau vivant or
performance/recitation to music). These presentations
will offer students an opportunity to receive feedback
from their peers.
Teacher will evaluate student work
based on the Success Criteria defined as
a class (see below some of the points I
would guide them toward) and the
rubric based on co-constructed
expectations devised in Lesson 7.

See Rubric with Success Criteria.

Overall Unit Learning Outcomes:

- Learning how to read Alexandrine verse and identify the cesura
- Practice employing literary analysis to understand a poem’s meaning
- Analyze and interpret a variety of poetic texts
- Understand the place of poetry in past and present-day and how themes/messages change
to reflect social, cultural and political values.

Midway Check-In Task Success Criteria:

- Have I included preliminary notes I took about Cyrano and Roxane’s personas in my
group think-pair-share?
- Have I written a paragraph contrasting Cyrano and Roxane that contains at least 6
sentences? Don’t forget to reference the text!
- Have I selected (and linked) a piece of classical or wordless music that evokes the
relationship between Cyrano and Roxane?
- Have I explained/justified my reasoning in a second paragraph that is at least 3 sentences
long?
See Rubric here

Culminating Task (Final Project) Success Criteria:

- Does my creativity component (visual representation, tableau vivant, recitation) reflect
the major literary themes discussed in your reflection?
- Does my creativity piece somehow reflect a modern-day medium or message?
(Connecting past to present.)
- Is my literary analysis thoughtful and thorough? Is it similar to the types of deep
discussions we have had in class?
- Is my writing clear and grammatically correct? 
- Have my contributions to the class (individual and during group activities) been
respectful and supportive of the learning?
See Rubric here