Grade 7

Lesson: Citing Textual Evidence
Lesson Topic: Cite textual evidence to support a claim

Question 1:
Read the following passage, which continues the story about Sara.
A Little Princess
By Frances Hodgson Burnett
If Sara had been older or less punctilious about being quite polite to people, she could have explained
herself in very few words. But, as it was, she felt a flush rising on her cheeks. Miss Minchin was a very severe
and imposing person, and she seemed so absolutely sure that Sara knew nothing whatever of French that she
felt as if it would be almost rude to correct her. The truth was that Sara could not remember the time when she
had not seemed to know French. Her father had often spoken it to her when she had been a baby. Her mother
had been a French woman, and Captain Crewe had loved her language, so it happened that Sara had always
heard and been familiar with it.
"I—I have never really learned French, but—but—" she began, trying shyly to make herself clear.
One of Miss Minchin's chief secret annoyances was that she did not speak French herself and was desirous
of concealing this irritating fact. She, therefore, had no intention of discussing the matter and laying herself
open to innocent questioning by a new little pupil.
"That is enough," she said with polite tartness. "If you have not learned, you must begin at once. The
French master, Monsieur Dufarge, will be here in a few minutes. Take this book and look at it until he arrives."
Sara's cheeks felt warm. She went back to her seat and opened the book. She looked at the first page with
a grave face. She knew it would be rude to smile, and she was very determined not to be rude. But it was very
odd to find herself expected to study a page which told her that "le pere" meant "the father," and "la mere"
meant "the mother."
Miss Minchin glanced toward her scrutinizingly.
"You look rather cross, Sara," she said. "I am sorry you do not like the idea of learning French."
"I am very fond of it," answered Sara, thinking she would try again; "but—"
"You must not say 'but' when you are told to do things," said Miss Minchin. "Look at your book again."
And Sara did so, and did not smile, even when she found that "le fils" meant "the son," and "le frere" meant
"the brother."
"When Monsieur Dufarge comes," she thought, "I can make him understand."
Monsieur Dufarge arrived very shortly afterward. He was a very nice, intelligent, middle-aged Frenchman,
and he looked interested when his eyes fell upon Sara trying politely to seem absorbed in her little book of
phrases.
"Is this a new pupil for me, madame?" he said to Miss Minchin. "I hope that is my good fortune."
"Her papa—Captain Crewe—is very anxious that she should begin the French language. But I am afraid
she has a childish prejudice against it. She does not seem to wish to learn," said Miss Minchin.
"I am sorry of that, mademoiselle," he said kindly to Sara. "Perhaps, when we begin to study together, I may
show you that it is a charming tongue."
Little Sara rose in her seat. She was beginning to feel rather desperate, as if she were almost in disgrace.
She looked up into Monsieur Dufarge's face with her big, green-gray eyes, and they were quite innocently
appealing. She knew that he would understand as soon as she spoke. She began to explain quite simply in
pretty and fluent French. Madame had not understood. She had not learned French exactly—not out of books
—but her papa and other people had always spoken it to her, and she had read it and written it as she had
read and written English. Her papa loved it, and she loved it because he did. Her dear mamma, who had died
when she was born, had been French. She would be glad to learn anything monsieur would teach her, but
what she had tried to explain to madame was that she already knew the words in this book—and she held out
the little book of phrases.
When she began to speak Miss Minchin started quite violently and sat staring at her over her eyeglasses,
almost indignantly, until she had finished. Monsieur Dufarge began to smile, and his smile was one of great
pleasure. To hear this pretty childish voice speaking his own language so simply and charmingly made him feel
almost as if he were in his native land—which in dark, foggy days in London sometimes seemed worlds away.
When she had finished, he took the phrase book from her, with a look almost affectionate. But he spoke to
Miss Minchin.
"Ah, madame," he said, "there is not much I can teach her. She has not learned French; she is French. Her
accent is exquisite."
Question 2:
Why does Miss Minchin avoid the topic of French? Use evidence from the text to support your claim.
She simply "had always heard and been familiar" with the French language.
She will only miss her native land if she talks about it, and it already seems "worlds away."
She feels personally insulted that Sara "has a childish prejudice" against the language.
She “did not speak French herself and was desirous of concealing this irritating fact.”
Question 3:
How do you know that the French book that Miss Minchin gives Sara is much too easy for her? Use evidence
from the text to support your claim.
Sara explains to Miss Minchin "that she already knew the words in this book."
Miss Minchin notices that Sara looks "rather cross" while studying it.
Sara looks at the first page "with a grave face."
It translates very simple words like "mother" and "father."
Question 4:
Which evidence from the text explains why Sara says that she did not learn French?
"When she began to speak Miss Minchin started quite violently and sat staring at her over
her eyeglasses, almost indignantly, until she had finished."
"Her papa loved it, and she loved it because he did. Her dear mamma, who had died
when she was born, had been French."
"Sara could not remember a time when she had not seemed to know French."
"Sara knew nothing whatever of French."
Question 5:
What kind of evidence would best fit the answer to the following question: What does Monsieur Dufarge think of
Sara?
a quote
a paraphrase
a summary
Lesson Topic: Make inferences
Question 1:
Read the following passage. What can you infer about the narrator?
My father laughed. “Gadzooks! My lady,” he said with a curtsy which my mother says he learned in Italy,
and which, try as I may, I cannot copy—“a daughter of the Montmorencys should find in the din of armorers’
hammers a music far sweeter than that of the lute or violin.”
-Adapted from Cedric, The Forester by Bernard Gay Marshall
The narrator has never been to Italy.
The narrator loves the music made by lutes and violins.
The narrator wants to become an armorer.
The narrator is upset with his father.
Question 2:
Review the following passage. What can you infer about the Montmorencys?
My father laughed. “Gadzooks! My lady,” he said with a curtsy which my mother says he learned in Italy,
and which, try as I may, I cannot copy—“a daughter of the Montmorencys should find in the din of armorers’
hammers a music far sweeter than that of the lute or violin.”
The Montmorencys have no taste in music.
The Montmorencys are Italian royalty.
The Montmorencys dislike the narrator's father.
The Montmorencys are frequently at war.
Question 3:
Read the following passage. What can you infer about the mood of the narrator's father?
“’Tis well enough,” said my mother, hurriedly, “but I have an important matter upon which to consult you.
Have you given thought, my lord, to the castle’s defense during your absence?”
My father’s brow became furrowed. I opened my mouth to speak, but Mother frowned at me so I held my
peace. I think she sometimes thinks of me as nothing more than a child, forgetting that it was my fifteenth
birthday that we marked at Candlemas.
His father is overjoyed to leave his unhappy marriage.
His father is intimidated by his intelligent and beautiful mother.
His father is worried about the safety of the castle while he is gone.
His father is relaxed now that he knows where he is going to serve the King.
Question 4:
Review the following passage. What can you infer about the narrator?
The narrator is unusually strong for his age.
The narrator is also afraid for the safety of the castle.
The narrator is constantly annoying his mother.
The narrator is obedient and respects his mother.
Question 5:
Review the following passage. What can you infer about the narrator's opinion of himself?
The narrator doubts his own thoughts and ideas, rarely venturing to speak up.
The narrator thinks that he is more intelligent than his father.
The narrator is angry at himself for not speaking up in the conversation.
The narrator does not think of himself as a child; he thinks that fifteen is mature.
Lesson Topic: Support inferences with evidence
Question 1:
Read the following passage, which continues Oliver's story.
The Windy Hill

By Cornelia Meigs
The next man Oliver met seemed also to feel a curiosity as to the boy’s errand, for he stopped a very old,
shambling horse to lean from his seat and ask point-blank: "Where may you be going in such a hurry on such a
hot day?"
Oliver, looking up at the person who addressed him and gauging his close-set, hard gray eyes and his
narrow, dark face, conceived an instant dislike and distrust of the stranger. He replied shortly, as he had
before, but with less good temper:
"I am going down the road a little way. And, as you say, I am rather in a hurry."
"Oh, are you indeed?" returned the man, measuring the boy up and down with a disagreeable, inquisitive
glance. "In too much of a hurry to have your manners with you, even!" He shot him a look of keen and hostile
penetration. "It almost looks as though you were running away from something."
He stopped for no further comment but went jingling off in his rattletrap cart, the cloud of dust raised by his
old horse's clumsy feet hanging long in the air behind him. Oliver plodded forward, muttering dark threats
against the disagreeable stranger, and wishing that he had been sufficiently quick of speech to contradict him.
Yet the random guess was a correct one, and running away was just what Oliver was doing. He had not
really meant to when he came out through the gateway of his cousin's place; he had only thought that he
would walk down the road toward the station—and see the train come in. Yet the resolve had grown within him
as he thought of all that had passed in the last few days, and as he looked forward to what was still to come.
As he walked down the road, rattling the money in his pockets, turning over his wrongs in his mind, the thought
had come swiftly to him that he need no longer endure things as they were. It was three miles to the railroad
station; but, once there, he could be whisked away from all the troubles that had begun to seem unendurable.
The inviting whistle of a train seemed to settle the matter finally.
"It isn't as though I were afraid of anything," he reflected, looking back uneasily. "If I thought I were afraid I
would never go away and leave Janet behind like this. No, I am only going because I will not be made to do
what I hate."
Question 2:
Which statement from the text supports the inference that the stranger leaves because Oliver was rude?
The stranger gives Oliver "a disagreeable, inquisitive glance," followed by "a look of keen
and hostile penetration."
The stranger leaves after remarking that Oliver was "in too much of a hurry to have [his]
manners with [him]."
Oliver mutters "dark threats against the disagreeable stranger" who did not give him a
ride.
None of the above applies. This statement is speculation rather than an inference.
Question 3:
Which statement from the text supports the inference that Oliver's family is incredibly wealthy?
Oliver "came out through the gateway of his cousin's place" before deciding to go and
watch the trains arrive.
Oliver "walked down the road, rattling the money in his pockets" and thinking about his
current situation.
Oliver wanted to "be whisked away from all the troubles" in his life "that had begun to
seem unendurable."
Question 4:
Which statement from the text supports the inference that Oliver was about to tell a lie?
Oliver spends time "wishing that he had been sufficiently quick of speech to contradict" the
stranger, even though the stranger's "random guess was a correct one."
The stranger "stopped for no further comment but went jingling off in his rattletrap cart"
while "Oliver plodded forward."
Oliver "had not really meant to" run away, "yet the resolve had grown within him as he
thought of all that had passed in the last few days, and as he looked forward to what was
still to come."
Question 5:
Which statement from the text supports the inference that Oliver has been pressured to do something?
Oliver "conceived an instant dislike and distrust" of a stranger that he met on the road.
While Oliver thinks, it comes "swiftly to him that he need no longer endure things as they
were."
Oliver says, "I am only going because I will not be made to do what I hate."
Lesson Topic: Distinguish between explicit and implicit information
Question 1:
Read the following passage. Is the information that King Pelias wants to kill the youth named Jason explicit or
implicit?
King Pelias looked to his guards. He would have given them a sign to destroy the youth's life with their
spears, but behind his guards he saw a threatening multitude—the dwellers of the city of Iolcus; they
gathered around, and Pelias knew that he had become more and more hated by them. And from the
multitude a cry went up, "Æson, Æson! May Æson come back to us! Jason, son of Æson! May nothing evil
befall thee, brave youth!"
-Adapted from The Golden Fleece and the Heroes who Lived Before Achilles by Padraic Colum
explicit
implicit
Question 2:
Review the following passage. Is the information that King Pelias fears the people of Iolcus explicit or implicit?
explicit
implicit
Question 3:
Review the following passage. Is the information that King Pelias is a bad ruler explicit or implicit?
explicit
implicit
Question 4:
Read the following passage. Is the information that King Pelias will send for Æson explicit or implicit?
Then Pelias knew that the youth might not be slain. He bent his head while he plotted against him in his
heart. Then he raised his eyes, and looking upon Jason he said, "O goodly youth, it well may be that you are
the son of Æson, my brother. I am well pleased to see you here. I have had hopes that I might be friends
with Æson, and your coming here may be the means to the renewal of our friendship. We two brothers may
come together again. I will send for your father now, and he will be brought to meet you in my royal palace.
Go with my guards and with this rejoicing people, and in a little while you and I and your father Æson will sit
at a feast of friends."
explicit
implicit
Question 5:
Review the following passage. Is the information that King Pelias is lying when he speaks of friendship to Jason
explicit or implicit?
Then Pelias knew that the youth might not be slain. He bent his head while he plotted against him in his
heart. Then he raised his eyes, and looking upon Jason he said, "O goodly youth, it well may be that you are
the son of Æson, my brother. I am well pleased to see you here. I have had hopes that I might be friends
with Æson, and your coming here may be the means to the renewal of our friendship. We two brothers may
come together again. I will send for your father now, and he will be brought to meet you in my royal palace.
Go with my guards and with this rejoicing people, and in a little while you and I and your father Æson will sit
at a feast of friends."
explicit
implicit
Lesson Topic: Provide multiple pieces of evidence to support analysis
Question 1:
Read the following excerpt, which continues the story from the lesson.
The Great Quest

By Charles Boardman Hawes
Perceiving that the entire village was quiet from a distance, I was frankly puzzled; and as I approached, I
cast about with lively curiosity to see what could cause so strange a state of affairs. It was only when I had
gone past the smithy, that I saw the smith and his customers and his habitual guests gathered on the other
side of the building, where I had not been able to see them before. They were staring at the old village tavern,
which stood some distance away on a gentle rise of land.
My curiosity so prevailed over my sense of duty that I turned from the road through the tall grass,
temporarily abandoning my errand, and picked my way among some old wheels and scrap iron to join the
men.
Their talk only aggravated my wonder.
Clearing his throat, the smith gruffly muttered, "It does act like him, and yet I can't believe it'll be him."
"Why shouldn't he come back?" one of the farmers asked in a louder voice. "Things done twenty years ago
will never be dragged up to face him, and he'd know that."
The smith grunted. "Where would Neil Gleazen find the money to buy a suit of good clothes and a beaver
hat?"
"That's easy answered," a third speaker put in. And they all exchanged significant glances.
In the silence that followed I made bold to put a question for myself. "Of whom are you talking?" I asked.
They looked closely at me and again exchanged glances.
"There's someone up yonder at the inn, Joe," the smith said kindly; "and Ben, here, getting sight of him last
night and again this morning, has took a notion that it's a fellow who used to live here years ago and who left
town—well, in a hurry. As to that, I can't be sure, but I'd not be surprised if it was Neil Gleazen after all."
Question 2:
Which evidence supports the inference that the villagers are normally very regular in their habits?
Check all that are true.
The smith is the one who answers Joe's question.
Joe indicates that it would take "a strange state of affairs" to change the activity in the
village.
The smith has "habitual guests" who visit him.

Joe is "puzzled" when the village is not as noisy as usual.
Joe says, "My curiosity prevailed over my sense of duty."
Question 3:
Which evidence supports the inference that Neil Gleazen did something bad twenty years ago?
The smith says that he "left town—well, in a hurry."
One of the farmers says, "Things done twenty years ago will never be dragged up to face
him."
Joe picks his way "among some old wheels and scrap iron to join the men."
The villagers "all exchanged significant glances" instead of explaining where he would get
his money.
None of the villagers seem happy to see him, nor do they greet him directly.
Question 4:
Which evidence supports the inference that Neil Gleazen is of interest to the villagers?
The old village tavern stood "some distance away on a gentle rise of land."
Ben notices him "last night and again this morning," and he brings this fact to the others'
attention.
Joe has to ask, "Of whom are you talking?"
The villagers change their routine to stand around and talk about him.
Question 5:
Which evidence supports the inference that the smith is willing to change his opinion after considering what
others have to say?
"Ben, here, getting sight of him last night and again this morning, has took a notion that it's
a fellow who used to live here years ago."
"It does act like him, and yet I can't believe it'll be him."
"As to that, I can't be sure, but I'd not be surprised if it was Neil Gleazen after all."
"Where would Neil Gleazen find the money to buy a suit of good clothes and a beaver
hat?"
Lesson: Themes
Lesson Topic: Distinguish between theme and main idea
Question 1:
Is "friendship" a theme or a main idea?
a theme
a main idea
Question 2:
What the text is mostly about, its content and plot, is called
a theme
a main idea
Question 3:
Identify the choice that best matches the theme of the passage below.
change
Rapid changes often cause people to question their own identities.
Question 4:
Identify the choice that best matches the main idea of the passage below.
the role of rich men in society
Rich men often must take care because they will be targeted by the families of young
ladies.
Question 5:
Identify the choice that best matches the theme of the passage below.
It is easy to envy the situation of another person.
the task of whitewashing a fence

Lesson Topic: Identify stated and unstated theme
Question 1:
Read the excerpt below.
If you were coming in the fall,

I'd brush the summer by
With half a smile and half a spurn,
As housewives do a fly.
If I could see you in a year,

I'd wind the months in balls,
And put them each in separate drawers,
Until their time befalls.
-From "If You Were Coming in the Fall" by Emily Dickinson
What is the unstated theme of this passage?
We want time to go faster when we miss someone.
We want time to go slowly when we miss someone.
We can control time whenever we want.
We don't think about people when we miss them.
Question 2:
Read the story below.
A snake, having made his hole close to the porch of a cottage, inflicted a mortal bite on the Cottager's
infant son. Grieving over his loss, the Father resolved to kill the Snake. The next day, when it came out of its
hole for food, he took up his axe, but by swinging too hastily, missed its head and cut off only the end of its
tail. After some time the Cottager, afraid that the Snake would bite him also, endeavored to make peace, and
placed some bread and salt in the hole. The Snake, slightly hissing, said: "There can henceforth be no peace
between us; for whenever I see you I shall remember the loss of my tail, and whenever you see me you will
be thinking of the death of your son." No one truly forgets injuries in the presence of him who caused the
injury.
-
From The Laborer and the Snake by Aesop
Does this story contain a stated or an unstated theme?
stated
unstated
Question 3:
Once upon a time there was a certain man, who, being overtaken by darkness among the mountains, was
driven to seek shelter in the trunk of a hollow tree. In the middle of the night, a large company of elves
assembled at the place; and the man, peeping out from his hiding-place, was frightened out of his wits. After
a while, however, the elves began to feast, sing, and dance until at last the man, caught by the infection of
the fun, forgot all about his fright, and crept out of his hollow tree to join in the revels. When the day was
about to dawn, the elves said to the man, "You're a very jolly companion, and must come out and have a
dance with us again. You must make us a promise, and keep it." So the elves, thinking to bind the man over
to return, took a large boil that grew on his forehead and kept it, thinking he would want to return for it. Upon
this they all left the place and went home. The man walked off to his own house in high glee at having
passed a jovial night, and got rid of his boil into the bargain. So he told the story to all his friends, who
congratulated him warmly on being cured of his boil. But there was a neighbor of his who was also troubled
with a boil of long standing, and, when he heard of his friend's luck, he was smitten with envy, and went off to
hunt for the hollow tree, in which, when he had found it, he passed the night.
Towards midnight the elves came, as he had expected, and began feasting, with songs and dances as
before. As soon as he saw this, he came out of his hollow tree, and began dancing and singing as his
neighbor had done. The elves, mistaking him for their former boon-companion, were delighted to see him,
and said— "You're a good fellow to recollect your promise, and we'll give you back your pledge."
So one of the elves, pulling the pawned boil out of his pocket, stuck it on to the man's forehead, on the top
of the other boil which he already had. So the envious neighbor went home weeping, with two boils instead of
one. This is a good lesson: People should not see the good luck of others and covet it for themselves.
-Adapted From Tales of Old Japan by Algernon Bertram Freeman-Mitford

stated
unstated
Question 4:
"Let us write a book," they said; "but what shall it be about?"

"A fairy story," said the elder sister.
"A book about kings and queens," said the other.
"Oh, no," said the brother, "let's write about animals."
"We will write about them all," they cried together. So they put the paper, and pens, and ink ready. The
elder sister took up a fairy story and looked at it, and put it down again.
"I have never known any fairies," she said, "except in books; but, of course, it would not do to put one
book inside another— anyone could do that."
"I shall not begin today," the little one said, "for I must know a few kings and queens before I write about
them, or I may say something foolish."
"I shall write about the pig, and the pony, and the white rabbit," said the brother; "but first I must think a
bit. It would never do to write a book without thinking."
Then the elder sister took up the fairy story again, to see how many things were left out, for those, she
thought, would do to go into her book. The little one said to herself, "Really, it is no good thinking about kings
and queens until I have known some, so I must wait;" and while the brother was considering about the pig,
and the pony, and the white rabbit, he fell asleep.
So the book is not written yet, but when it is we shall know a great deal.
-From Very Short Stories and Verses for Children by Mrs. W.K. Clifford
stated
unstated
Question 5:
A mule-driver set forth on a journey, driving before him a Donkey and a Mule, both well laden. The
Donkey, as long as he traveled along the plain, carried his load with ease, but when he began to ascend the
steep path of the mountain, felt his load to be more than he could bear. The Mule, however, felt just as
strong on the plain as on the mountain. The Donkey entreated his companion to relieve him of a small
portion, that he might carry home the rest; but the Mule paid no attention to the request and chided the
Donkey for being so weak. The Donkey shortly afterwards fell down dead under his burden. Not knowing
what else to do in so wild a region, the mule-driver placed upon the Mule the load carried by the Donkey in
addition to his own, and at the top of all placed the hide of the Donkey, after he had skinned him. The Mule,
groaning beneath his heavy burden, said to himself: "I am treated according to my deeds. If I had only been
willing to assist the Donkey a little in his need, I should not now be bearing, together with his burden, himself
as well."
-Adapted from The Donkey and the Mule by Aesop
What is the stated theme of this passage?
We are treated according to our deeds.
We must carry our burdens alone.
We should pay no attention to the requests of others.
We will fall down dead when carrying others' burdens.

Lesson Topic: Recognize how different elements develop theme
Question 1:
How does the author's use of characterization in this excerpt develop the theme that danger can be exciting in
a calm place?
I will take up my pen and go back to the time when my father kept the Admiral Benbow inn and the brown
old seaman with the sabre cut first took up his lodging under our roof. His stories were what frightened
people worst of all. Dreadful stories they were—about hanging, and walking the plank, and storms at sea,
and the Dry Tortugas, and wild deeds and places on the Spanish Main. By his own account he must have
lived his life among some of the wickedest men that God ever allowed upon the sea, and the language in
which he told these stories shocked our plain country people almost as much as the crimes that he
described. My father was always saying the inn would be ruined, for people would soon cease coming there
to be tyrannized over and put down, and sent shivering to their beds; but I really believe his presence did us
good. People were frightened at the time, but on looking back they rather liked it; it was a fine excitement in a
quiet country life.
Adapted from Treasure Island by Robert Louis Stevenson
The author characterizes the father as a coward who shrinks from violence even when it
might be necessary.
The author characterizes the wild stories as a contrast to the experiences of the quiet
country people, which explains why the people were fascinated by the danger in them.
The author characterizes the country people as people who despise the old seaman and
want nothing to do with him because of his dangerous history.
The author at first characterizes the old seaman as frightening, but then shows that he is
especially kind when he is calm.
Question 2:
What evidence from the text supports the theme that even unlovely looking things can be loved?
There had been one other thing that Benny had given them no peace about. On the night when the
children had crept so quietly away from the baker's wife, Jess had forgotten to take Benny's bear. This bear
was a poor looking creature, which had once been an expensive bright-eyed Teddy-bear made of brown
plush. But Benny had taken it to bed every single night for three years, and had loved it by day, so that it was
not attractive to anyone but himself. Both eyes were gone, and its body was very limp, but Benny had
certainly suffered a great deal trying to sleep in a strange bed without his beloved bear.
Adapted from The Box-Car Children by Gertrude Chandler Warner
Benny only wanted the bear at night time when he was unable to see the flaws in the
stuffed animal.
Benny likes to have frequent changes to his routine, which is why he moves a lot and often
sleeps in different places.
The bear is beloved by Benny even though it is limp, poor looking, and not attractive.
Jess forgot the ugly bear and left it behind when she left the baker's wife.
Question 3:
What evidence from the text supports the theme that death is inevitable?
The dying embers of an altar-place

Where had been heaped a mass of holy things
For an unholy usage: they raked up,
And shivering scraped with their cold skeleton hands
The feeble ashes, and their feeble breath
Blew for a little life, and made a flame
Which was a mockery; then they lifted up
Their eyes as it grew lighter, and beheld
Each other's aspects—saw, and shrieked, and died—
Adapted from "Darkness" by Lord Byron
The voice of the writer is flippant and exposes the ridiculousness of the images.
The tone is warm and welcoming to the reader.
The mood is gloomy and pessimistic.
The setting suggests spiritual awakening.
Question 4:
What evidence from the text supports the theme that people are easily unified into a single group?
The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the
hills, resting. As the landscape changed from brown to green, the army awakened, and began to tremble with
eagerness at the noise of rumors. It cast its eyes upon the roads, which were growing from long troughs of
liquid mud to proper thoroughfares. A river, amber-tinted in the shadow of its banks, purled at the army's
feet; and at night, when the stream had become of a sorrowful blackness, one could see across it the red,
eyelike gleam of hostile camp-fires set in the low brows of distant hills.
Adapted from The Red Badge of Courage by Stephen Crane
The setting demonstrates the theme because water surrounds the entire army so that no
one can escape.
The tone demonstrates the theme because it praises the army for overcoming many
differences to work together.
The text is organized so that at the beginning there are many different people, but at the
end they have become one group.
The narrator characterizes the army as a single group that rests and awakes at the same
time, sharing the same feet and eyes.
Question 5:
How does the author's use of setting develop the theme that specialization allows people freedom?
I remember thinking how comfortable it was, this division of labour which made it unnecessary for me to
study fogs, winds, tides, and navigation in order to visit my friend who lived across an arm of the sea. It was
good that men should be specialists, I mused. The peculiar knowledge of the pilot and captain sufficed for
many thousands of people who knew no more of the sea and navigation than I knew. On the other hand,
instead of having to devote my energy to the learning of a multitude of things, I concentrated it upon a few
particular things, such as, for instance, the analysis of Poe’s place in American literature—an essay of mine,
by the way, in the current Atlantic. Coming aboard, as I passed through the boat's cabin, I had noticed with
greedy eyes a stout gentleman reading the Atlantic, which was open at my very essay. And there it was
again, the division of labour, the special knowledge of the pilot and captain which permitted the stout
gentleman to read my special knowledge on Poe while they carried him safely from Sausalito to San
Francisco.
Adapted from The Sea-Wolf by Jack London
The narrator is lost in a fog because he never learned anything about navigation.
The narrator is free to sit in a comfortable chair and write about Poe instead of traveling
around as others do.
The narrator is free to wander and think about literature even though he is on a boat that
he knows nothing about.
The pilot and the captain are free to change the destination of the passengers whenever
they like.
Lesson Topic: Identify the theme of an image
Question 1:
Which details best support the idea that the theme of this painting is that love unifies two people into one?
The flowers are very vibrant and full of life.
The colors used for the environment are the same as the colors used for the people.
There is no hard line between the two people, and you must look closely to tell where one
ends and the other begins.
The use of gold gives the painting a glowing feeling.
Question 2:
What theme does the artist convey in this image?

Furniture should be built solidly to keep people safe.
Rest is often the only thing to calm a busy mind.
Fear can be an overwhelming experience.
Monkeys and horses are mischievous creatures who like to play tricks.
Question 3:
Which choice best represents the theme of the image below?

You must listen to the earth to understand the joy of existence.
People are often helpless against powerful natural forces.
Islands like the Bahamas are a tropical paradise.
Water brings life to all creatures and plants.
Question 4:
Which statement best matches the theme of the image below?
Distress can be internal as well as external.
High places like bridges can provide perspective about life's problems.
Sunsets remind people of the beauty of life.
People can only help you if you allow them to know your problems.
Question 5:
Which details of this painting help to develop the theme that the presence of friends is a delight?
The people are working hard and do not seem to notice one another.
The people all seem to be chatting happily and the warm dabs of color give the scene a
soft feeling of goodwill.
The uneaten food on the table reveals that these people are wasteful and idle.
The boats in the top corner show that there are better things that the people could be
doing than just talking.
Lesson Topic: Identify the theme by analyzing character quotes, actions and traits
Question 1:
Read the story below, paying close attention to how the characters develop the theme.
The Cowardly Lion and the Hungry Tiger

By L. Frank Baum
In the splendid palace of the Emerald City, which is in the center of the fairy Land of Oz, is a great Throne
Room, where Princess Ozma, the Ruler, for an hour each day sits in a throne of glistening emeralds and
listens to all the troubles of her people, which they are sure to tell her about. Crouched on either side the
throne are two enormous beasts known as the Hungry Tiger and the Cowardly Lion.
These two beasts are Ozma's chief guardians, but as everyone loves the beautiful girl Princess there has
never been any disturbance in the great Throne Room, or anything for the guardians to do but look fierce and
solemn and keep quiet until the Royal Audience is over and the people go away to their homes.
Of course no one would dare be naughty while the huge Lion and Tiger crouched beside the throne; but the
fact is, the people of Oz are very seldom naughty. So Ozma's big guards are more ornamental than useful,
and no one realizes that better than the beasts themselves.
One day, after everybody had left the Throne Room except the Cowardly Lion and the Hungry Tiger, the
Lion yawned and said to his friend:
"I'm getting tired of this job. No one is afraid of us and no one pays any attention to us."
"That is true," replied the big Tiger, purring softly. "We might as well be in the thick jungles where we were
born, as trying to protect Ozma when she needs no protection. And I'm dreadfully hungry all the time."
"You have enough to eat, I'm sure," said the Lion, swaying his tail slowly back and forth.
"Enough, perhaps; but not the kind of food I long for," answered the Tiger. "What I'm hungry for is fat
babies. I have a great desire to eat a few fat babies. Then, perhaps, the people of Oz would fear me and I'd
become more important."
"True," agreed the Lion. "It would stir up quite a rumpus if you ate but one fat baby. As for myself; my claws
are sharp as needles and strong as crowbars, while my teeth are powerful enough to tear a person to pieces in
a few seconds. If I should spring upon a man and make chop suey of him, there would be wild excitement in
the Emerald City and the people would fall upon their knees and beg me for mercy. That, in my opinion, would
render me of considerable importance."
"After you had torn the person to pieces, what would you do next?" asked the Tiger sleepily.
"Then I would roar so loudly it would shake the earth and stalk away to the jungle to hide myself, before
anyone could attack me or kill me for what I had done."
"I see," nodded the Tiger. "You are really cowardly."
"To be sure. That is why I am named the Cowardly Lion. That is why I have always been so tame and
peaceable. But I'm awfully tired of being tame," added the Lion, with a sigh, "and it would be fun to raise a row
and show people what a terrible beast I really am."
The Tiger remained silent for several minutes, thinking deeply as he slowly washed his face with his left
paw. Then he said: "I'm getting old, and it would please me to eat at least one fat baby before I die. Suppose
we surprise these people of Oz and prove our power. What do you say? We will walk out of here just as usual
and the first baby we meet I'll eat in a jiffy, and the first man or woman you meet you will tear to pieces. Then
we will both run out of the city gates and gallop across the country and hide in the jungle before anyone can
stop us."
"All right; I'm game," said the Lion, yawning again so that he showed two rows of dreadfully sharp teeth.
The Tiger got up and stretched his great, sleek body.
"Come on," he said. The Lion stood up and proved he was the larger of the two, for he was almost as big as
a small horse.
Out of the palace they walked, and met no one. They passed through the beautiful grounds, past fountains
and beds of lovely flowers, and met no one. Then they unlatched a gate and entered a street of the city, and
met no one.
"I wonder how a fat baby will taste," remarked the Tiger, as they stalked majestically along, side by side.
"I imagine it will taste like nutmegs," said the Lion.
"No," said the Tiger, "I've an idea it will taste like gumdrops."
They turned a corner, but met no one, for the people of the Emerald City were accustomed to take their
naps at this hour of the afternoon.
"I wonder how many pieces I ought to tear a person into," said the Lion, in a thoughtful voice.
"Sixty would be about right," suggested the Tiger.
"Would that hurt any more than to tear one into about a dozen pieces?" inquired the Lion, with a little
shudder.
"Who cares whether it hurts or not?" growled the Tiger.
The Lion did not reply. They entered a side street, but met no one.
Suddenly they heard a child crying.
"Aha!" exclaimed the Tiger. "There is my meat."
He rushed around a corner, the Lion following, and came upon a nice fat baby sitting in the middle of the
street and crying as if in great distress.
"What's the matter?" asked the Tiger, crouching before the baby.
"I—I—I-lost my m-m-mamma!" wailed the baby.
"Why, you poor little thing," said the great beast, softly stroking the child's head with its paw. "Don't cry, my
dear, for mamma can't be far away and I'll help you to find her."
"Go on," said the Lion, who stood by.
"Go on where?" asked the Tiger, looking up.
"Go on and eat your fat baby."
"Why, you dreadful creature!" said the Tiger reproachfully; "would you want me to eat a poor little lost baby,
that doesn't know where its mother is?" And the beast gathered the little one into its strong, hairy arms and
tried to comfort it by rocking it gently back and forth.
The Lion growled low in his throat and seemed very much disappointed; but at that moment a scream
reached their ears and a woman came bounding out of a house and into the street. Seeing her baby in the
embrace of the monster Tiger the woman screamed again and rushed forward to rescue it, but in her haste
she caught her foot in her skirt and tumbled head over heels and heels over head, stopping with such a bump
that she saw many stars in the heavens, although it was broad daylight. And there she lay, in a helpless
manner, all tangled up and unable to stir.
With one bound and a roar like thunder the huge Lion was beside her. With his strong jaws he grasped her
dress and raised her into an upright position.
"Poor thing! Are you hurt?" he gently asked.
Gasping for breath the woman struggled to free herself and tried to walk, but she limped badly and tumbled
down again.
"My baby!" she said pleadingly.
"The baby is all right; don't worry," replied the Lion; and then he added: "Keep quiet, now, and I'll carry you
back to your house, and the Hungry Tiger will carry your baby."
The Tiger, who had approached the place with the child in its arms, asked in astonishment:
"Aren't you going to tear her into sixty pieces?"
"No, nor into six pieces," answered the Lion indignantly. "I'm not such a brute as to destroy a poor woman
who has hurt herself trying to save her lost baby. If you are so ferocious and cruel and bloodthirsty, you may
leave me and go away, for I do not care to associate with you."
"That's all right," answered the Tiger. "I'm not cruel—not in the least—I'm only hungry. But I thought you
were cruel."
"Thank heaven I'm respectable," said the Lion, with dignity. He then raised the woman and with much
gentleness carried her into her house, where he laid her upon a sofa. The Tiger followed with the baby, which
he safely deposited beside its mother. The little one liked the Hungry Tiger and grasping the enormous beast
by both ears the baby kissed the beast's nose to show he was grateful and happy.
"Thank you very much," said the woman. "I've often heard what good beasts you are, in spite of your power
to do mischief to mankind, and now I know that the stories are true. I do not think either of you have ever had
an evil thought."
The Hungry Tiger and the Cowardly Lion hung their heads and did not look into each other's eyes, for both
were shamed and humbled. They crept away and stalked back through the streets until they again entered the
palace grounds, where they retreated to the pretty, comfortable rooms they occupied at the back of the palace.
There they silently crouched in their usual corners to think over their adventure.
After a while the Tiger said sleepily:
"I don't believe fat babies taste like gumdrops. I'm quite sure they have the flavor of raspberry tarts. My,
how hungry I am for fat babies!"
The Lion grunted disdainfully.
"You're a humbug," said he.
"Am I?" retorted the Tiger, with a sneer. "Tell me, then, into how many pieces you usually tear your victims,
my bold Lion?"
The Lion impatiently thumped the floor with his tail.
"To tear anyone into pieces would soil my claws and blunt my teeth," he said. "I'm glad I didn't muss myself
up this afternoon by hurting that poor mother."
The Tiger looked at him steadily and then yawned a wide, wide yawn.
"You're a coward," he remarked.
"Well," said the Lion, "it's better to be a coward than to do wrong."
"To be sure," answered the other. "And that reminds me that I nearly lost my own reputation. For, had I
eaten that fat baby I would not now be the Hungry Tiger. It's better to go hungry, seems to me, than to be cruel
to a little child."
And then they dropped their heads on their paws and went to sleep.
Question 2:
Which quote best represents the lesson of the story?
"What I'm hungry for is fat babies. I have a great desire to eat a few fat babies. Then,
perhaps, the people of Oz would fear me and I'd become more important."
"After you had torn the person to pieces, what would you do next?" asked the Tiger
sleepily.
"Then I would roar so loudly it would shake the earth and stalk away to the jungle to hide
myself, before anyone could attack me or kill me for what I had done."
"That is true," replied the big Tiger, purring softly. "We might as well be in the thick jungles
where we were born, as trying to protect Ozma when she needs no protection. And I'm
dreadfully hungry all the time."
"I'm getting tired of this job. No one is afraid of us and no one pays any attention to us."
Question 3:
Which character trait that both the lion and tiger possess is most important to the story's theme?
their morality
their hunger
their viciousness
their bravery
Question 4:
Which character action hints toward the story's theme?
The beast gathered the little one into its strong, hairy arms and tried to comfort it by
rocking it gently back and forth.
The Tiger remained silent for several minutes, thinking deeply as he slowly washed his
face with his left paw.
Out of the palace they walked, and met no one.
He rushed around a corner, the Lion following, and came upon a nice fat baby sitting in
the middle of the street and crying as if in great distress.
They crept away and stalked back through the streets until they again entered the palace
grounds.
Question 5:
Read the passage below from L. Frank Baum's, "The Cowardly Lion and the Hungry Tiger."
"To be sure," answered the other. "And that reminds me that I nearly lost my own reputation. For, had I
eaten that fat baby I would not now be the Hungry Tiger. It's better to go hungry, seems to me, than to be
cruel to a little child."
What does the theme of this story seem to focus on?
patience
sacrifice
love
faith
Lesson Topic: Compare internal and external conflict
Question 1:
Read the passage below.
We had been eating ice cream in silence. Well, I was eating and he was reading the newspaper. The mall
was packed with shoppers. Christmas music played in the background, inspiring everyone to buy more
presents for the holidays, and I was biding my time before I could ask to be taken home. The silence became
too much, almost haunting, like I was actually a ghost and I didn’t really exist at all. The thought scared me.
Is the conflict in the passage an example of an external conflict or an internal conflict?
It is internal because the narrator is lost in her own thoughts, which scare her.
It is internal because the narrator is having a fight with her father.
It is external because the narrator and her father are yelling at each other.
It is external because the narrator is afraid of her own thoughts.
Question 2:
I broke protocol and spoke. “Why did you do it?” I asked, staring at my dad, waiting for him to look up
from his paper.
“What was that sweetheart?”
It was the way he said it, like he wanted nothing more than to continue ignoring me, that goaded me
further.
“Why did you leave us?” I asked, forgoing my melting ice cream in favor of confrontation.
“Honey,” he said, and then just stopped. He went back to reading his paper.
It is internal because the narrator is unsure how to talk to her father.
It is internal because the narrator cannot express her frustration.
It is external because the narrator is upset with her father.
It is external because the narrator is breaking her family's rules.

Question 3:
As I lay awake in bed that night, I thought about my mom’s parting words: “You have to respond
according to what you believe is right, not what you think the situation deserves.”
I wasn’t sure I even knew what she meant, only that it sounded complicated. I wanted her to tell me what
to do, not spout philosophical nonsense. My anger over who my dad was and how he treated me was so
strong that it eclipsed all the rest of the story.
It is internal because the narrator is struggling to understand what to do about her anger
toward her father.
It is internal because the narrator and her mom are fighting about what to do about the
narrator's father.
It is external because the narrator and her father are fighting about what her mom meant
by her parting words.
It is external because the narrator is having difficulty deciding what to do about the advice
her mom gave her.
Question 4:
Read the story. Then, answer the questions that follow.
Rikki Tikki Tavi

By Rudyard Kipling
This is an excerpt from The Jungle Book, a book of fables that uses animals to relay important moral
messages.
He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his
habits. His eyes and the end of his restless nose were pink. He could scratch himself anywhere he pleased
with any leg, front or back, that he chose to use. He could fluff up his tail till it looked like a bottle brush, and his
war cry as he scuttled through the long grass was: “Rikk-tikk-tikki-tikki-tchk!”
Rikki-tikki went out into the garden to see what was to be seen. It was a large garden, only half cultivated,
with bushes, as big as summer-houses, of Marshal Niel roses, lime and orange trees, clumps of bamboos, and
thickets of high grass.
Rikki-tikki licked his lips. “This is a splendid hunting-ground," he said, and his tail grew bottle-brushy at the
thought of it, and he scuttled up and down the garden, snuffing here and there till he heard very sorrowful
voices in a thorn-bush.
It was Darzee, the Tailorbird, and his wife. They had made a beautiful nest by pulling two big leaves
together and stitching them up the edges with fibers, and had filled the hollow with cotton and downy fluff. The
nest swayed to and fro, as they sat on the rim and cried.
“What is the matter?” asked Rikki-tikki.
“We are very miserable,” said Darzee. “One of our babies fell out of the nest yesterday and Nag ate him.”
“H’m!” said Rikki-tikki, “that is very sad–but I am a stranger here. Who is Nag?”
Darzee and his wife only cowered down in the nest without answering, for from the thick grass at the foot of
the bush there came a low hiss–a horrid cold sound that made Rikki-tikki jump back two clear feet. Then inch
by inch out of the grass rose up the head and spread hood of Nag, the big black cobra, and he was five feet
long from tongue to tail. When he had lifted one-third of himself clear of the ground, he stayed balancing to and
fro exactly as a dandelion tuft balances in the wind, and he looked at Rikki-tikki with the wicked snake’s eyes
that never change their expression, whatever the snake may be thinking of.
“Who is Nag?” said he. “I am Nag. The great god Brahm* put his mark upon all our people, when the first
cobra spread his hood to keep the sun off Brahm as he slept. Look, and be afraid!”
He spread out his hood more than ever, and Rikki-tikki saw the spectacle-mark on the back of it that looks
exactly like the eye part of a hook-and-eye fastening. He was afraid for the minute, but it is impossible for a
mongoose to stay frightened for any length of time, and though Rikki-tikki had never met a live cobra before,
his mother had fed him on dead ones, and he knew that all a grown mongoose’s business in life was to fight
and eat snakes. Nag knew that too and, at the bottom of his cold heart, he was afraid.
“Well,” said Rikki-tikki, and his tail began to fluff up again, “marks or no marks, do you think it is right for you
to eat fledglings out of a nest?”
Nag was thinking to himself, and watching the least little movement in the grass behind Rikki-tikki. He knew
that mongooses in the garden meant death sooner or later for him and his family, but he wanted to get Rikki-
tikki off his guard. So he dropped his head a little, and put it on one side.
“Let us talk,” he said. “You eat eggs. Why should not I eat birds?”
“Behind you! Look behind you!” sang Darzee.
Rikki-tikki knew better than to waste time in staring. He jumped up in the air as high as he could go, and just
under him whizzed by the head of Nagaina, Nag’s wicked wife. She had crept up behind him as he was talking,
to make an end of him. He heard her savage hiss as the stroke missed. He came down almost across her
back, and if he had been an old mongoose he would have known that then was the time to break her back with
one bite; but he was afraid of the terrible lashing return stroke of the cobra. He bit, indeed, but did not bite long
enough, and he jumped clear of the whisking tail, leaving Nagaina torn and angry.
Question 5:
Which is the conflict from the previous story?
person versus fate
person versus society
person versus self
person versus time
person versus person

Lesson Topic: Identify theme by analyzing conflicts in a text
Question 1:
What is an example of a conflict?
an ongoing disagreement between a father and his son
a struggle to decide whether to stay in a difficult situation or move on
a struggle between a man and the forces of nature in the Alaskan wilderness
all of the above
Question 2:
Which theme would most likely be linked to an "individual versus nature" conflict?
The advance of modern technology must be tempered with morality.
Only the strongest and most determined survive.
Friendship and family are life's greatest gifts.
Material gifts are only as valuable as the intentions of the gift giver.
Question 3:
Read the story below, paying attention to the main conflict of the story.
The Cowardly Lion and the Hungry Tiger

By L. Frank Baum
In the splendid palace of the Emerald City in the fairy Land of Oz is a great Throne Room. Here Princess
Ozma, the Ruler, sits for an hour each day in a throne of glistening emeralds, listening to all the troubles of her
people. Crouched on either side the throne are two enormous beasts known as the Hungry Tiger and the
Cowardly Lion. These two beasts are Ozma's chief guardians, but as everyone loves the beautiful girl Princess,
there has never been any disturbance in the great Throne Room. The fact is, the people of Oz are very seldom
naughty, so Ozma's big guards are more ornamental than useful. No one realizes that better than the beasts
themselves.
One day, the Lion yawned and said to his friend, "I'm getting tired of this job. No one is afraid of us and no
one pays any attention to us."
"That is true," replied the big Tiger, purring softly. "We might as well be in the thick jungles where we were
born, as trying to protect Ozma when she needs no protection. And I'm dreadfully hungry all the time."
"You have enough to eat, I'm sure," said the Lion, swaying his tail slowly back and forth.
"Enough, perhaps, but not the kind of food I long for," answered the Tiger. "What I'm hungry for is fat
babies. Then, perhaps, the people of Oz would fear me and I'd become more important."
"True," agreed the Lion. "As for myself; my claws are sharp as needles and strong as crowbars, while my
teeth are powerful enough to tear a person to pieces in a few seconds. If I should spring upon a man and
make chop suey of him, there would be wild excitement in the Emerald City and the people would fall upon
their knees and beg me for mercy. That, in my opinion, would render me of considerable importance."
"After you had torn the person to pieces, what would you do next?" asked the Tiger sleepily.
"Then I would roar so loudly it would shake the earth and stalk away to the jungle to hide myself, before
anyone could attack me or kill me for what I had done."
"I see," nodded the Tiger. "You are really cowardly."
"To be sure. That is why I am named the Cowardly Lion. But I'm awfully tired of being tame," added the
Lion, with a sigh.
The Tiger remained silent for several minutes, thinking deeply as he slowly washed his face with his left
paw. Then he said,
"I'm getting old, and it would please me to eat at least one fat baby before I die. Suppose we surprise these
people of Oz and prove our power. We will walk out of here just as usual and the first baby we meet I'll eat in a
jiffy, and the first man or woman you meet you will tear to pieces."
"All right; I'm game," said the Lion, yawning again so that he showed two rows of dreadfully sharp teeth.
The Tiger got up and stretched his great, sleek body. "Come on," he said. The Lion stood up and proved he
was the larger of the two, for he was almost as big as a small horse.
Out of the palace they walked, and met no one. They passed fountains and beds of lovely flowers, and met
no one. Then they entered a street of the city, and met no one.
"I wonder how a fat baby will taste," remarked the Tiger.
"I imagine it will taste like nutmeg," said the Lion.
"No," said the Tiger, "I've an idea it will taste like gumdrops."
They turned a corner, but met no one.
"I wonder how many pieces I ought to tear a person into," said the Lion, in a thoughtful voice.
"Sixty would be about right," suggested the Tiger.
They entered a side street, but met no one.
Suddenly they heard a child crying.
"Aha!" exclaimed the Tiger. "There is my meat."
He rushed around a corner and came upon a nice fat baby sitting in the middle of the street and crying as if
in great distress.
"What's the matter?" asked the Tiger, crouching before the baby.
"I—I—I-lost my m-m-mamma!" wailed the baby.
"Why, you poor little thing," said the great beast, softly stroking the child's head with its paw. "Don't cry, my
dear, for mamma can't be far away and I'll help you to find her."
"Go on and eat your fat baby," said the Lion, who stood by.
"Why, you dreadful creature!" said the Tiger reproachfully. "You would want me to eat a poor little lost baby,
that doesn't know where its mother is?" The Tiger gathered the little one into its strong arms and tried to
comfort it by rocking it gently.
The Lion seemed very much disappointed, but at that moment a scream reached their ears, and a woman
came bounding out of a house and into the street. Seeing her baby in the embrace of the Tiger, the woman
screamed again and rushed forward to rescue it. In her haste, however, she tumbled head over heels. There
she lay, helplessly tangled up.
With one bound, the huge Lion was beside her. With his strong jaws he raised her into an upright position.
"Poor thing! Are you hurt?" he gently asked.
"My baby!" she said pleadingly.
"The baby is all right; don't worry," replied the Lion. Then he added, "Keep quiet, now, and I'll carry you
back to your house, and the Hungry Tiger will carry your baby."
The Tiger, who had approached the place with the child in its arms, asked in astonishment:
"Aren't you going to tear her into sixty pieces?"
"No, nor into six pieces," answered the Lion indignantly. "I'm not such a brute as to destroy a poor woman
who has hurt herself trying to save her lost baby. If you are so cruel, I do not care to associate with you."
"That's all right," answered the Tiger. "I'm not cruel—not in the least—I'm only hungry. But I thought you
were cruel."
The Lion then raised the woman and with much gentleness carried her into her house.
The Tiger followed with the baby, which he safely deposited beside its mother. The little one liked the
Hungry Tiger and grasping the enormous beast by both ears, the baby kissed the beast's nose to show he was
grateful and happy.
"Thank you very much," said the woman. "I've often heard what good beasts you are, and now I know that
the stories are true. I do not think either of you have ever had an evil thought."
The Hungry Tiger and the Cowardly Lion hung their heads and did not look into each other's eyes, for both
were shamed and humbled. They crept away to the palace grounds. There they silently crouched in their usual
corners to think over their adventure.
After a while the Tiger said sleepily: "I'm quite sure that fat babies must have the flavor of raspberry tarts.
My, how hungry I am for fat babies!"
The Lion grunted disdainfully. "You're a humbug," said he.
"Am I?" retorted the Tiger, with a sneer. "Tell me, then, into how many pieces you usually tear your victims,
my bold Lion?"
"To tear anyone into pieces would soil my claws and blunt my teeth," he said. "I'm glad I didn't muss myself
up this afternoon by hurting that poor mother."
The Tiger looked at him steadily and then yawned a wide, wide yawn. "You're a coward," he remarked.
"To be sure," answered the other. "And that reminds me that I nearly lost my own reputation. For, had I eaten
that fat baby I would not now be the Hungry Tiger. It's better to go hungry, seems to me, than to be cruel to a
little child."
And then they dropped their heads on their paws and went to sleep.
Question 4:
What is the main conflict of the story?
whether to save the woman or save the child
whether to be cowardly or brave
whether to continue to protect Ozma or let her take care of herself
whether or not to do what is expected from lions and tigers
Question 5:
What kind of conflict is this?
internal
external
Lesson Topic: Identify common literary symbols
Question 1:
Which of the following is a common symbol?
telephones
white
drawers
skyscrapers
Question 2:
Which of the following is a common symbol?
lion
zebra
turkey
penguin
Question 3:
Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,

Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same.
I shall be telling this with a sigh
Somewhere ages and ages hence:

Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
-From "The Road Not Taken" by Robert Frost
Which item in the passage is most likely used symbolically?
ages
undergrowth
woods
roads
sigh
Question 4:
Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,

Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same.
I shall be telling this with a sigh
Somewhere ages and ages hence:

Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
-From "The Road Not Taken" by Robert Frost
How are roads being used symbolically in the passage?

The two divergent roads represent an important life decision for which there is no clear
answer.
The first road represents the past, while the second road represents the future.
The two divergent roads represent the change that we undergo due to the passing of
time.
The first road represents a bad decision in life, while the second road represents a good
decision.
Question 5:
Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; vainly I had sought to borrow
From my books relief from sorrow—sorrow for the lost Lenore.
Nameless here forevermore.
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Quoth the Raven, "Nevermore."
-Adapted from "The Raven" by Edgar Allen Poe
Which item in the passage is most likely used symbolically?
feather
bust
door
raven
Lesson Topic: Identify theme by analyzing literary symbols
Question 1:
Which is a type of literary symbol?
animals
objects
nature
colors
all of the above
Question 2:
An author wants her story's theme to focus on finding peace. If she wanted to use a common literary symbol,
what animals might she have her main character see at the end of the story?
lions
eagles
doves
ravens
Question 3:
Read the description below.
An author writes a fairy tale in which a new bride is unsure whether she wants children. She meets an old
witch, who tells her to choose between two cloaks: one woven of green thread and the other woven of black
thread. The young woman chooses the green cloak.
If the author is using a common literary symbol, what might the fairy tale's theme focus on?
death
love
a journey
fertility
Question 4:
The main character of story walks on a long path. She reaches a bridge. She is hesitant to cross it. Finally,
she crosses the bridge.
Which big idea would this scene most likely symbolize?
As we make our way through life, change is difficult but necessary.
Life is meant to be lived among friends and family, not alone.
Death is necessary, because it makes us get everything we can out of life.
Hardship makes good things seem even better, because we are able to appreciate them.
Question 5:
The young daughter of a king is determined to prove that she is strong enough to rule her kingdom, so she
sets out to accomplish a set of feats that every king must accomplish before ruling. As she is out in the wild,
she is almost killed by a bear. Afterward, she washes the blood and dirt off of herself in a river. As she is
finishing up, she looks up and sees an eagle nearby.
What bigger idea does this scene likely symbolize?
finding renewed strength in the face of hardship
the journey toward purity and new life
the triumph of good over evil
knowing when to give up and allowing oneself to love

Lesson Topic: Identify the theme of a literary text
Question 1:
What is a theme?
I. a central idea
II. a message
III. a fact
I and III
I and II
Question 2:
What is a universal theme?
a theme that is focused on the vastness of the universe
a theme that can apply to many different people and cultures
a theme that only applies to specific cultures or people
none of the above
Question 3:
What are some strategies for finding the theme of a text?
Look at the first lines of the text.
Look at symbols in the text.
Look at the rhyming words in the text.
Look at the character's words, actions, and reactions.
Look at the author's note.
Question 4:
How can you identify the theme of a text?
I. Examine symbols the author uses.
II. Look for rhyming words.

III. Look at how the characters change throughout the story.
I and II
I and III
Question 5:
What is a literary symbol?
a big idea about a person
an important part of a story's plot
a thing that represents a bigger idea
a percussion instrument
Lesson: Summaries
Lesson Topic: Identify key ideas using the 5Ws and an H
Question 1:
Read the story below, paying close attention to the key ideas.
The Odyssey for Boys and Girls: The Cyclops

By Alfred J. Church
A great many years ago, there was a very famous siege of a city called Troy. The eldest son of the king
who reigned in this city carried off the wife of one of the Greek kings, and with her a great quantity of gold and
silver. She was the most beautiful woman in the world, and all the princes of Greece had come to her father's
court wishing to marry her. Her father had made them all swear that if anyone should steal her away from the
man whom she would choose for her husband, they would help him to get her back. This promise they had
now to keep. So they all went to besiege Troy, each taking a number of his subjects with him.
On the other hand, the Trojans were helped by many of the nations that lived near them. The siege lasted
for a long time, but in the tenth year the city was taken. Then the Greeks began to think about going home.
The story that you are now going to hear is about one of these Greek princes, Ulysses by name, who was the
King of Ithaca. (This was an island on the west coast of Greece, and you can find it now marked on the map.)
Ulysses was, according to one story, very unwilling to go. He had married, you see, a very good and beautiful
wife, and he had a little son. So he pretended to be mad, and he took a plough down to the sea-shore and
began to plough the sand.
But someone took his little son and laid him in front of the plough. And when Ulysses stopped lest he should
hurt him, people said: "This man is not really mad." So he had to go. And this is the story of how, at last, he
came back.
When Troy had been taken, Ulysses and his men set sail for his home, the Island of Ithaca. He had twelve
ships with him and fifty men or thereabouts in each ship. The first place they came to was a city called Ismarus.
This they took and plundered. Ulysses said to his men: "Let us sail away with what we have got." They would
not listen to him, but sat on the sea-shore and feasted, for they had found plenty of wine in the city and many
sheep and oxen in the fields round it. Meanwhile the people who had escaped out of the city fetched their
countrymen who dwelt in the mountains and brought an army to fight with the Greeks. The battle began early
in the morning of the next day, and it lasted nearly till sunset. At first the Greeks had the better of it, but in the
afternoon the people of the country prevailed, and they drove them to their ships. Very glad were they to get
away, but when they came to count, they found that they had lost six men out of each ship.
After this, a great storm fell upon the ships and carried them far to the south, past the very island to which
they were bound. It was very hard on Ulysses. He was close to his home, if he could only have stopped; but he
could not, and though he saw it again soon after, it was ten years before he reached it, having gone through
many adventures in the meantime.
The first of these was in the country of the Cyclopes or Round-eyed People. Late on a certain day, Ulysses
came with his ships to an island and found on it a beautiful harbor with a stream falling into it and a flat beach
on which to draw up the ships.
That night he and his men slept by the ships, and the next day they made a great feast. The island was full
of wild goats. These the men hunted and killed using their spears and bows. They had been on shipboard for
many days, and they had had but little food. Now they had plenty, eight goats to every ship, and nine for the
ship of Ulysses because he was the chief. So they ate till they were satisfied, and they drank wine which they
had carried away from Ismarus.
Now there was another island about a mile away, and they could see that it was larger, and it seemed as if
there might be people living on it. The island where they were was not inhabited.
So on the second morning, Ulysses said to his men: "Stay here, my dear friends; I with my own ship and my
own company will go to yonder island and find out who dwells there, whether they are good people or no." So
he and his men took their ship and rowed over to the other island. Then Ulysses took twelve men, the bravest
that there were in the ship, and went to search out the country. He took with him a goat skin of wine, very
strong and sweet, which the priest of Apollo at Ismarus had given him for saving him and his house and family
when the city was taken.
There never was a more precious wine; one measure of it could be mixed with twenty measures of water,
and the smell of it was wondrously sweet. Also he took with him some parched corn, for he felt in his heart that
he might need some food.
After a while, they came to a cave which seemed to be the dwelling of some rich and skilful shepherd.
Inside there were pens for the young sheep and the young goats, and baskets full of cheeses, and milk-pans
ranged against the walls. Then Ulysses' men said to him: "Let us go away before the master comes back. We
can take some of the cheeses and some of the kids and lambs." But Ulysses would not listen to them. He
wanted to see what kind of man this shepherd might be, and he hoped to get something from him.
In the evening the Cyclops, the round-eye, came home. He was a great giant, with one big eye in the
middle of his forehead and an eyebrow above it. He bore on his shoulder a huge bundle of pine logs for his
fire. This he threw down outside the cave with a great crash and then he drove the flocks inside and closed up
the mouth with a rock so big that twenty wagons could not carry it. After this he milked the ewes and the she-
goats. Half the milk he curdled for cheese, and half he set aside for his own supper. This done, he threw some
logs on the fire, which burnt up with a great flame, showing the Greeks, who had fled into the depths of the
cave when they saw the giant come in.
"Who are you?" said the giant. "Traders or pirates?"
"We are no pirates, mighty sir," said Ulysses, "but Greeks sailing home from Troy, where we have been
fighting for Agamemnon, the great king, whose fame is spread abroad from one end of heaven to the other.
And we beg you to show hospitality to us, for the gods love them who are hospitable."
"Nay," said the giant, "talk not to me about the gods. We care not for them, for we are better and stronger
than they. But tell me, where have you left your ship?"
But Ulysses saw what he was thinking of when he asked about the ship, namely, that he meant to break it
up so as to leave them no hope of getting away. So he said, "Oh, sir, we have no ship; that which we had was
driven by the wind upon a rock and broken, and we whom you see here are all that escaped from the wreck."
The giant said nothing, but without more ado caught up two of the men, as a man might catch up two
puppies, and dashed them on the ground. He tore them limb from limb and devoured them with huge draughts
of milk between, leaving not a morsel, not even the bones.
And when he had filled himself with this horrible food and with the milk of the flocks, he lay down among his
sheep and slept.
Then Ulysses thought: "Shall I slay this monster as he sleeps, for I do not doubt that with my good sword I
can pierce him to the heart. But no; if I do this, then shall I and my comrades here perish miserably, for who
shall be able to roll away the great rock that is laid against the mouth of the cave?"
So he waited till the morning, very sad at heart. And when the giant awoke, he milked his flocks, and
afterward he seized two of the men and devoured them as before.
This done, he went forth to the pastures, his flocks following him, but first he put the rock on the mouth of
the cave, just as a man shuts down the lid of his quiver.
All day Ulysses thought how he might save himself and his companions, and the end of his thinking was
this: There was a great pole in the cave, the trunk of an olive tree, green wood which the giant was going to
use as a staff for walking when it was dried by the smoke. Ulysses cut off this a piece some six feet long, and
his companions hardened it in the fire, and then they hid it away. In the evening, the giant came back and did
as before, seizing two of the prisoners and devouring them. When he had finished his meal, Ulysses came to
him with the skin of wine in his hand and said, "Drink, Cyclops, now that you have supped. Drink this wine, and
see what good things we had in our ship. But no one will bring the like to you on your island here if you are so
cruel to strangers." The Cyclops took the skin and drank, and he was mightily pleased with the wine.
"Give me more," he said, "and tell me your name, and I will give you a gift such as a host should. Truly this
is a fine drink, like, I take it, to that which the gods have in heaven."
Then Ulysses said: "My name is No Man. And now give me your gift."
And the giant said: "My gift is this: you shall be eaten last." And as he said this, he fell back in a drunken
sleep.
Then Ulysses said to his companions, "Be brave, my friends, for the time is come for us to be delivered
from this prison."
So they put the stake into the fire and kept it there till it was ready, green as it was, to burst into flame. Then
they thrust it into his eye, for, as has been told, he had but one, and Ulysses leant with all his force upon the
stake and turned it about, just as a man turns a drill about when he would make a hole in a ship timber. And
the wood hissed in the eye as the red-hot iron hisses in the water when a smith would temper it to make a
sword.
Then the giant leapt up and tore away the stake, and he cried out so loudly that the round-eyed people on
the island came to see what had happened.
"What ails you," they asked, "that you make so great an uproar, waking us all out of our sleep? Is any one
stealing your sheep or seeking to hurt you?"
And the giant bellowed, "No Man is hurting me."
"Well," said the round-eyed people, "if no man is hurting you, then it must be the gods that do it, and we
cannot help you against them."
Ulysses laughed when he thought how he had beguiled them by his name. But he was still in doubt how he
and his companions should escape, for the giant sat in the mouth of the cave and felt to see whether the men
were trying to get out among the sheep. And Ulysses, after long thinking, made a plan by which he and his
companions might escape. By great good luck the giant had driven the rams into the cave, for he commonly
left them outside.
These rams were very big and strong, and Ulysses took six of the biggest and tied the six men that were left
out of the twelve underneath their bellies with osier twigs. And on each side of the six rams to which a man was
tied, he put another ram. So he himself was left, for there was no one who could do the same for him. Yet this
also he managed. There was a very big ram, much bigger than all the others, and to this he clung, grasping
the fleece with both his hands. So, when the morning came, the flocks went out of the cave as they were wont,
and the giant felt them as they passed by him, and did not perceive the men. And when he felt the biggest ram,
he said, "How is this? You are not used to lag behind; you are always the first to run to the pasture in the
morning and to come back to the fold at night. Perhaps you are troubled about thy master's eye which this
villain No Man has destroyed. First he overcame me with wine, and then he put out my eye. Oh! That you
could speak and tell me where he is. I would dash out his brains upon the ground." And then he let the big ram
go.
When they were out of the giant's reach, Ulysses let go his hold of the ram and loosed his companions, and
they all made as much haste as they could to get to the place where they had left their ship, looking back to
see whether the giant was following them. The crew at the ship were very glad to see them, but they wondered
that there should be only six. Ulysses made signs to them to say nothing, for he was afraid that the giant might
know where they were if he heard their voices. So they all got on board and rowed with all their might. But
when they were a hundred yards from the shore, Ulysses stood up in the ship and shouted: "You are an evil
beast, Cyclops, to devour strangers in your cave, and you are rightly served in losing your eye. May the gods
make you suffer worse things than this!"
The Cyclops, when he heard Ulysses speak, broke off the top of a rock and threw it to the place from which
the voice seemed to come. The rock fell just in front of the ship, and the wave which it made washed it back to
the shore. But Ulysses caught up a long pole and pushed the ship off, and he nodded with his head, being
afraid to speak, to his companions to row with all their might. So they rowed, and when they were twice as far
off as before, Ulysses stood up again in the ship, as if he were going to speak again. And his comrades
begged him to be silent.
"Do not make the giant angry," they said; "we were almost lost just now when the wave washed us back to
the shore. The monster throws a mighty bolt, and he throws it far."
Ulysses would not listen, but cried out: "Hear, Cyclops, if any man ask you who put out your eye, say that it
was Ulysses of Ithaca."
Then the giant took up another great rock and threw it. This time it almost touched the end of the rudder,
but missed by a hand's breadth. This time, therefore, the wave helped them on. So big was it that it carried the
ship to the other shore.
Now Ulysses had not forgotten to carry off sheep from the island for his companions. These he divided
among the crews of all the ships. The great ram he had for his own share. So that day the whole company
feasted, and they lay down on the sea-shore and slept.
Question 2:
Read the story below, paying close attention to the key ideas.
American Fairy Tales: The Box of Robbers

by L. Frank Baum
No one intended to leave Martha alone that afternoon, but it happened that everyone was called away, for
one reason or another. Mrs. McFarland was attending the weekly card party held by the Women's Anti-
Gambling League. Sister Nell's young man had called quite unexpectedly to take her for a long drive. Papa
was at the office, as usual. It was Mary Ann's day out. As for Emeline, she certainly should have stayed in the
house and looked after the little girl, but Emeline had a restless nature.
"Would you mind, miss, if I just crossed the alley to speak a word to Mrs. Carleton's girl?" she asked
Martha.
"'Course not," replied the child. "You'd better lock the back door, though, and take the key, for I shall be
upstairs."
"Oh, I'll do that, of course, miss," said the delighted maid, and she ran away to spend the afternoon with her
friend, leaving Martha quite alone in the big house, and locked in, into the bargain.
The little girl read a few pages in her new book, sewed a few stitches in her embroidery and started to play
with her four favorite dolls. Then she remembered that in the attic was a doll's playhouse that hadn't been used
for months, so she decided she would dust it and put it in order.
Filled with this idea, the girl climbed the winding stairs to the big room under the roof. It was well lighted by
three dormer windows and was warm and pleasant. Around the walls were rows of boxes and trunks, piles of
old carpeting, pieces of damaged furniture, bundles of discarded clothing and other odds and ends of more or
less value. Every well-regulated house has an attic of this sort, so I need not describe it.
The doll's house had been moved, but after a search Martha found it away over in a corner near the big
chimney.
She drew it out and noticed that behind it was a black wooden chest which Uncle Walter had sent over from
Italy years and years ago—before Martha was born, in fact. Mamma had told her about it one day; how there
was no key to it, because Uncle Walter wished it to remain unopened until he returned home; and how this
wandering uncle, who was a mighty hunter, had gone into Africa to hunt elephants and had never been heard
from afterwards.
The little girl looked at the chest curiously, now that it had by accident attracted her attention.
It was quite big—bigger even than mamma's traveling trunk—and was studded all over with tarnished
brass-headed nails. It was heavy, too, for when Martha tried to lift one end of it, she found she could not stir it
a bit. But there was a place in the side of the cover for a key. She stooped to examine the lock, and she saw
that it would take a rather big key to open it.
Then, as you may suspect, the little girl longed to open Uncle Walter's big box and see what was in it. For
we are all curious, and little girls are just as curious as the rest of us.
I don't b'lieve Uncle Walter'll ever come back, she thought. Papa said once that some elephant must have
killed him. If I only had a key— She stopped and clapped her little hands together gaily as she remembered a
big basket of keys on the shelf in the linen closet. They were of all sorts and sizes; perhaps one of them would
unlock the mysterious chest!
She flew down the stairs, found the basket, and returned with it to the attic. Then she sat down before the
brass-studded box and began trying one key after another in the curious old lock. Some were too large, but
most were too small. One would go into the lock but would not turn; another stuck so fast that she feared for a
time that she would never get it out again. But at last, when the basket was almost empty, an oddly-shaped,
ancient brass key slipped easily into the lock. With a cry of joy, Martha turned the key with both hands; then
she heard a sharp "click," and the next moment the heavy lid flew up of its own accord!
The little girl leaned over the edge of the chest an instant, and the sight that met her eyes caused her to
start back in amazement.
Slowly and carefully, a man unpacked himself from the chest, stepped out upon the floor, stretched his
limbs, and then took off his hat and bowed politely to the astonished child.
He was tall and thin and his face seemed badly tanned or sunburnt.
Then another man emerged from the chest, yawning and rubbing his eyes like a sleepy schoolboy. He was
of middle size and his skin seemed as badly tanned as that of the first.
While Martha stared open-mouthed at the remarkable sight, a third man crawled from the chest. He had the
same complexion as his fellows, but he was short and fat.
All three were dressed in a curious manner. They wore short jackets of red velvet braided with gold, and
knee breeches of sky-blue satin with silver buttons. Over their stockings were laced wide ribbons of red and
yellow and blue, while their hats had broad brims with high, peaked crowns, from which fluttered yards of
bright-colored ribbons.
They had big gold rings in their ears and rows of knives and pistols in their belts. Their eyes were black and
glittering and they wore long, fierce mustaches, curling at the ends like a pig's tail.
"My! But you were heavy," exclaimed the fat one, when he had pulled down his velvet jacket and brushed
the dust from his sky-blue breeches. "And you squeezed me all out of shape."
"It was unavoidable, Luigi," responded the thin man, lightly. "The lid of the chest pressed me down upon
you. Yet I tender you my regrets."
"As for me," said the middle-sized man, carelessly rolling a cigarette and lighting it, "you must acknowledge
I have been your nearest friend for years, so do not be disagreeable."
"You mustn't smoke in the attic," said Martha, recovering herself at the sight of the cigarette. "You might set
the house on fire."
The middle-sized man, who had not noticed her before, at this speech turned to the girl and bowed.
"Since a lady requests it," said he, "I shall abandon my cigarette," and he threw it on the floor and
extinguished it with his foot.
"Who are you?" asked Martha, who until now had been too astonished to be frightened.
"Permit us to introduce ourselves," said the thin man, flourishing his hat gracefully. "This is Luigi," the fat
man nodded, "and this is Beni," the middle-sized man bowed, "and I am Victor. We are three bandits—Italian
bandits."
"Bandits!" cried Martha, with a look of horror.
"Exactly. Perhaps in all the world there are not three other bandits so terrible and fierce as ourselves," said
Victor, proudly.
"'Tis so," said the fat man, nodding gravely.
"But it's wicked!" exclaimed Martha.
"Yes, indeed," replied Victor. "We are extremely and tremendously wicked. Perhaps in all the world you
could not find three men more wicked than those who now stand before you."
"'Tis so," said the fat man, approvingly.
"But you shouldn't be so wicked," said the girl; "it's—it's—naughty!"
Victor cast down his eyes and blushed.
"Naughty!" gasped Beni, with a horrified look.
"'Tis a hard word," said Luigi, sadly, and buried his face in his hands.
"I little thought," murmured Victor, in a voice broken by emotion, "ever to be so reviled—and by a lady! Yet,
perhaps you spoke thoughtlessly. You must consider, miss, that our wickedness has an excuse. For how are
we to be bandits, let me ask, unless we are wicked?"
Martha was puzzled and shook her head, thoughtfully. Then she remembered something.
"You can't remain bandits any longer," said she, "because you are now in America."
"America!" cried the three, together.
"Certainly. You are on Prairie Avenue, in Chicago. Uncle Walter sent you here from Italy in this chest."
The bandits seemed greatly bewildered by this announcement. Luigi sat down on an old chair with a broken
rocker and wiped his forehead with a yellow silk handkerchief. Beni and Victor fell back upon the chest and
looked at her with pale faces and staring eyes.
When he had somewhat recovered himself, Victor spoke.
"Your Uncle Walter has greatly wronged us," he said, reproachfully. "He has taken us from our beloved
Italy, where bandits are highly respected, and brought us to a strange country where we shall not know whom
to rob or how much to ask for a ransom."
"'Tis so!" said the fat man, slapping his leg sharply.
"And we had won such fine reputations in Italy!" said Beni, regretfully.
"Perhaps Uncle Walter wanted to reform you," suggested Martha.
"Are there, then, no bandits in Chicago?" asked Victor.
"Well," replied the girl, blushing in her turn, "we do not call them bandits."
"Then what shall we do for a living?" inquired Beni, despairingly.
"A great deal can be done in a big American city," said the child. "My father is a lawyer" (the bandits
shuddered), "and my mother's cousin is a police inspector."
"Ah," said Victor, "that is a good employment. The police need to be inspected, especially in Italy."
"Everywhere!" added Beni.
"Then you could do other things," continued Martha, encouragingly. "You could be motor men on trolley
cars, or clerks in a department store. Some people even become aldermen to earn a living."
The bandits shook their heads sadly.
"We are not fitted for such work," said Victor. "Our business is to rob."
Martha tried to think. "It is rather hard to get positions in the gas office," she said, "but you might become
politicians."
"No!" cried Beni, with sudden fierceness; "we must not abandon our high calling. Bandits we have always
been, and bandits we must remain!"
"'Tis so!" agreed the fat man.
"Even in Chicago there must be people to rob," remarked Victor, with cheerfulness.
Martha was distressed.
"I think they have all been robbed," she objected.
"Then we can rob the robbers, for we have experience and talent beyond the ordinary," said Beni.
"Oh, dear; oh, dear!" moaned the girl; "why did Uncle Walter ever send you here in this chest?"
The bandits became interested.
"That is what we should like to know," declared Victor, eagerly.
"But no one will ever know, for Uncle Walter was lost while hunting elephants in Africa," she continued, with
conviction.
"Then we must accept our fate and rob to the best of our ability," said Victor. "So long as we are faithful to
our beloved profession, we need not be ashamed."
"'Tis so!" cried the fat man.
"Brothers! We will begin now. Let us rob the house we are in."
"Good!" shouted the others as they sprang to their feet.
Beni turned threateningly upon the child.
"Remain here!" he commanded. "If you stir one step your blood will be on your own head!" Then he added,
in a gentler voice: "Don't be afraid; that's the way all bandits talk to their captives. But of course we wouldn't
hurt a young lady under any circumstances."
"Of course not," said Victor.
The fat man drew a big knife from his belt and flourished it about his head.
"S'blood!" he shouted, fiercely.
"S'bananas!" cried Beni, in a terrible voice.
"Confusion to our foes!" hissed Victor.
And then the three bent themselves nearly double and crept stealthily down the stairway with cocked pistols
in their hands and glittering knives between their teeth, leaving Martha trembling with fear and too horrified to
even cry for help.
How long she remained alone in the attic she never knew, but finally she heard the catlike tread of the
returning bandits and saw them coming up the stairs in single file.
All bore heavy loads of plunder in their arms, and Luigi was balancing a mince pie on the top of a pile of her
mother's best evening dresses. Victor came next with an armful of bric-a-brac, a brass candelabra and the
parlor clock. Beni had the family Bible, the basket of silverware from the sideboard, a copper kettle and papa's
fur overcoat.
"Oh, joy!" said Victor, putting down his load; "it is pleasant to rob once more."
"Oh, ecstasy!" said Beni, but he let the kettle drop on his toe and immediately began dancing around in
anguish, while he muttered strange words in the Italian language.
"We have much wealth," continued Victor, holding the mince pie while Luigi added his spoils to the heap,
"and all from one house! This America must be a rich place."
With a dagger he then cut himself a piece of the pie and handed the remainder to his comrades.
Whereupon all three sat upon the floor and consumed the pie while Martha looked on sadly.
"We should have a cave," remarked Beni, "for we must store our plunder in a safe place. Can you tell us of
a secret cave?" he asked Martha.
"There's a Mammoth cave," she answered, "but it's in Kentucky. You would be obliged to ride on the cars a
long time to get there."
The three bandits looked thoughtful and munched their pie silently, but the next moment they were startled
by the ringing of the electric doorbell, which was heard plainly even in the remote attic.
"What's that?" demanded Victor, in a hoarse voice, as the three scrambled to their feet with drawn daggers.
Martha ran to the window and saw it was only the postman, who had dropped a letter in the box and gone
away again. But the incident gave her an idea of how to get rid of her troublesome bandits, so she began
wringing her hands as if in great distress and cried out: "It's the police!"
The robbers looked at one another with genuine alarm, and Luigi asked, tremblingly: "Are there many of
them?"
"A hundred and twelve!" exclaimed Martha, after pretending to count them.
"Then we are lost!" declared Beni, "for we could never fight so many and live."
"Are they armed?" inquired Victor, who was shivering as if cold.
"Oh, yes," said she. "They have guns and swords and pistols and axes and—and—"
"And what?" demanded Luigi.
"And cannons!"
The three wicked ones groaned aloud and Beni said, in a hollow voice:
"I hope they will kill us quickly and not put us to the torture. I have been told these Americans are
bloodthirsty and terrible."
"'Tis so!" gasped the fat man, with a shudder.
Suddenly Martha turned from the window.
"You are my friends, are you not?" she asked.
"We are devoted!" answered Victor.
"We adore you!" cried Beni.
"We would die for you!" added Luigi, thinking he was about to die anyway.
"Then I will save you," said the girl.
"How?" asked the three with one voice.
"Get back into the chest," she said. "I will then close the lid, so they will be unable to find you."
They looked around the room in a dazed and irresolute way, but she exclaimed:
"You must be quick! They will soon be here to arrest you."
Then Luigi sprang into the chest and lay flat upon the bottom. Beni tumbled in next and packed himself in
the back side. Victor followed after pausing to kiss the girl's hand in a graceful manner.
Then Martha ran up to press down the lid, but she could not make it catch.
"You must squeeze down," she said to them.
Luigi groaned.
"I am doing my best, miss," said Victor, who was nearest the top, "but although we fitted in very nicely
before, the chest now seems rather small for us."
"'Tis so!" came the muffled voice of the fat man from the bottom.
"I know what takes up the room," said Beni.
"What?" inquired Victor, anxiously.
"The pie," returned Beni.
"'Tis so!" came from the bottom, in faint accents.
Then Martha sat upon the lid and pressed it down with all her weight. To her great delight the lock caught,
and, springing down, she exerted all her strength and turned the key.
This story should teach us not to interfere in matters that do not concern us. For had Martha refrained from
opening Uncle Walter's mysterious chest she would not have been obliged to carry downstairs all the plunder
the robbers had brought into the attic.
Question 3:
Who is the protagonist of the story?
Martha's uncle
Mama
Martha
the robbers
Question 4:
What is the central conflict of the story?
Martha wants to open the chest, but her aunt tells her not to.
Martha must control the robbers who come out of the chest.
Martha's family wonders if Uncle Walter will ever come back.
Uncle Walter captures a group of robbers and places them in a chest.
Question 5:
How does the location impact the story?
The Italian robbers want to mend their ways in America.
The Italian robbers feel lost in America.
The Italian robbers are even more wicked in America.
The Italian robbers feel right at home in America.

Lesson Topic: Differentiate between key ideas and supporting details
Question 1:
Read the excerpt below, paying close attention to the key ideas of the story.
From
Tarzan of the Apes
By Edgar Rice Burroughs
An English lord and his wife become stranded in the African jungle along with their infant son. Lady
Greystroke dies a year after the baby is born. As Lord Greystroke is mourning her death, an ape tribe comes
upon their home, and Lord Greystoke is killed by their leader, Kerchak. Kala, a she-ape who has just lost her
own baby, adopts the boy as her own and names him "Tarzan." When he is 10, he happens upon the cabin
where he lived as an infant with his human mother and father.
His life among these fierce apes had been happy; for his recollection held no other life. He was nearly ten
before he realized that a great difference existed between himself and his fellows.
The wanderings of the tribe brought them often near a closed and silent cabin by a little land-locked harbor.
To Tarzan this was always a source of never-ending mystery and pleasure. He would peek into the curtained
windows, or, climbing upon the roof, peer down the black depths of the chimney. His child-like imagination
pictured wonderful creatures within, but he had no idea how to enter it.
One day, while visiting the cabin, Tarzan noticed that from a distance the door appeared to be an
independent part of the wall in which it was set. For the first time it occurred to him that this might prove the
means of entrance which had so long eluded him.
The story of his own connection with the cabin had never been told to him. The language of the apes had
so few words that they could talk but little of what they had seen in the cabin, having no words to accurately
describe either the strange people or their belongings, and so, long before Tarzan was old enough to
understand, the subject had been forgotten by the tribe. Only in a dim, vague way had Kala explained to him
that his father had been a strange white ape, but he did not know that Kala was not his own mother.
On this day, then, he went directly to the door and spent hours examining it and fussing with the hinges, the
knob and the latch. Finally he stumbled upon the right combination, and the door swung open before his
astonished eyes. For some minutes he did not dare venture within, but finally, as his eyes became accustomed
to the dim light of the interior, he slowly and cautiously entered.
The furnishings and other contents of the room caught his attention. He examined many things minutely—
strange tools and weapons, books, paper, and clothing.
He opened chests and cupboards, such as did not baffle his small experience, and in these he found the
contents much better preserved.
Among other things he found a sharp hunting knife, on the keen blade of which he immediately proceeded
to cut his finger. Undaunted he continued his experiments, finding that he could hack and hew splinters of
wood from the table and chairs with this new toy.
For a long time this amused him, but finally tiring he continued his explorations. In a cupboard filled with
books he came across one with brightly colored pictures—it was a child's illustrated alphabet—
A is for Archer
Who shoots with a bow.
B is for Boy,
His first name is Joe.
The pictures interested him greatly. There were many apes with faces similar to his own, and further over in
the book he found, under "M," some little monkeys such as he saw daily flitting through the trees of his
primeval forest. But nowhere was pictured any of his own people; in all the book was none that resembled
Kerchak, or Tublat, or Kala.
At first he tried to pick the little figures from the leaves, but he soon saw that they were not real, though he
knew not what they might be, nor had he any words to describe them.
The boats, and trains, and cows and horses were quite meaningless to him, but not quite so baffling as the
odd little figures which appeared beneath and between the colored pictures—some strange kind of bug he
thought they might be, for many of them had legs though nowhere could he find one with eyes and a mouth. It
was his first introduction to the letters of the alphabet, and he was over ten years old.
Of course he had never before seen print, or ever had spoken with any living thing which had the remotest
idea that such a thing as a written language existed, nor ever had he seen anyone reading.
So what wonder that the little boy was quite at a loss to guess the meaning of these strange figures. Oh, it
was most engrossing! Never before in all his ten years had he enjoyed anything so much. So absorbed was he
that he did not note the approaching dusk, until it was quite upon him and the figures were blurred.
Question 2:
Read the excerpt below, taking note of the key ideas and supporting details of the story. Then, answer the
questions that follow.
From
The Wizard of Oz
By L. Frank Baum
Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em,
who was the farmer's wife. Uncle Henry never laughed. He worked hard from morning till night and did not
know what joy was. He was gray from his long beard to his rough boots, and he looked stern and solemn, and
rarely spoke.
It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto
was not gray; he was a little black dog, with long silky hair and small black eyes that twinkled merrily on either
side of his funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly.
Today, however, they were not playing. Uncle Henry sat upon the doorstep and looked anxiously at the sky,
which was even grayer than usual. Dorothy stood in the door with Toto in her arms, and looked at the sky too.
Aunt Em was washing the dishes. From the far north they heard a low wail of the wind, and Uncle Henry and
Dorothy could see where the long grass bowed in waves before the coming storm. There now came a sharp
whistling in the air from the south, and as they turned their eyes that way they saw ripples in the grass coming
from that direction also.
Suddenly Uncle Henry stood up.
"There's a cyclone coming, Em," he called to his wife. "I'll go look after the stock." Then he ran toward the
sheds where the cows and horses were kept.
Aunt Em dropped her work and came to the door. One glance told her of the danger close at hand.
"Quick, Dorothy!" she screamed. "Run for the cellar!"
Toto jumped out of Dorothy's arms and hid under the bed, and the girl started to get him. Aunt Em, badly
frightened, threw open the trap door in the floor and climbed down the ladder into the small, dark hole. Dorothy
caught Toto at last and started to follow her aunt. When she was halfway across the room there came a great
shriek from the wind, and the house shook so hard that she lost her footing and sat down suddenly upon the
floor.
Then a strange thing happened.
The house whirled around two or three times and rose slowly through the air. Dorothy felt as if she were
going up in a balloon.
The north and south winds met where the house stood, and made it the exact center of the cyclone. In the
middle of a cyclone the air is generally still, but the great pressure of the wind on every side of the house
raised it up higher and higher, until it was at the very top of the cyclone; and there it remained and was carried
miles and miles away as easily as you could carry a feather.
Toto did not like it. He ran about the room, now here, now there, barking loudly; but Dorothy sat quite still on
the floor and waited to see what would happen.
At last she crawled over the swaying floor to her bed, and lay down upon it; and Toto followed and lay down
beside her. In spite of the swaying of the house and the wailing of the wind, Dorothy soon closed her eyes and
fell fast asleep.
Question 3:
Which is a key idea of the passage?
Dorothy's Uncle Henry had rough boots and a long, gray beard.
On the day of the cyclone, Dorothy and Toto were not playing as was their usual custom.
Dorothy's uncle announces that there is a cyclone heading to their home.
The hole that Aunt Em crawls into is small and dark.
Question 4:
Which is a supporting detail of the passage?
Dorothy is a young girl who lives on a farm in Kansas with her aunt and uncle.
One day, Dorothy's world is turned upside down when a big tornado uproots her house.
Toto has black, silky fur and bright eyes.
Uncle Henry ran to tend to the stock, while Aunt Em ran to open the cellar.
Question 5:
Read the excerpt below, taking note of the key ideas and supporting details of the story. Then, answer the
questions that follow.
From
The Wizard of Oz
By L. Frank Baum
She was awakened by a shock. Dorothy sat up and noticed that the house was not moving; nor was it dark,
for the bright sunshine came in at the window, flooding the little room. She sprang from her bed and with Toto
at her heels ran and opened the door.
The little girl gave a cry of amazement and looked about her, her eyes growing bigger and bigger at the
wonderful sights she saw. The cyclone had set the house down very gently—for a cyclone—in the midst of a
country of marvelous beauty. There were lovely patches of greensward all about, with stately trees bearing rich
and luscious fruits. Banks of gorgeous flowers were on every hand, and birds with rare and brilliant plumage
sang and fluttered in the trees and bushes. A little way off was a small brook, rushing and sparkling along
between green banks, and murmuring in a voice very grateful to a little girl who had lived so long on the dry,
gray prairies.
While she stood looking eagerly at the strange and beautiful sights, she noticed coming toward her a group
of the queerest people she had ever seen. They were not as big as the grown folk she had always been used
to; but neither were they very small. In fact, they seemed about as tall as Dorothy, who was a well-grown child
for her age, although they were, so far as looks go, many years older.
Three were men and one a woman, and all were oddly dressed. They wore round hats that rose to a small
point a foot above their heads, with little bells around the brims that tinkled sweetly as they moved. The hats of
the men were blue; the little woman's hat was white, and she wore a white gown that hung in pleats from her
shoulders. Over it were sprinkled little stars that glistened in the sun like diamonds. The men were dressed in
blue, of the same shade as their hats, and wore well-polished boots with a deep roll of blue at the tops. The
men, Dorothy thought, were about as old as Uncle Henry, for two of them had beards. But the little woman was
doubtless much older. Her face was covered with wrinkles, her hair was nearly white, and she walked rather
stiffly.
When these people drew near the house where Dorothy was standing in the doorway, they paused and
whispered among themselves, as if afraid to come farther. But the little old woman walked up to Dorothy, made
a low bow and said, in a sweet voice: "You are welcome, most noble Sorceress, to the land of the Munchkins.
We are so grateful to you for having killed the Wicked Witch of the East, and for setting our people free from
bondage."
Dorothy listened to this speech with wonder. What could the little woman possibly mean by calling her a
sorceress, and saying she had killed the Wicked Witch of the East? Dorothy was an innocent, harmless little
girl, who had been carried by a cyclone many miles from home; and she had never killed anything in all her life.
But the little woman evidently expected her to answer; so Dorothy said, with hesitation, "You are very kind,
but there must be some mistake. I have not killed anything."
"Your house did, anyway," replied the little old woman, with a laugh, "and that is the same thing. See!" she
continued, pointing to the corner of the house. "There are her two feet, still sticking out from under a block of
wood."
Dorothy looked, and gave a little cry of fright. There, indeed, just under the corner of the great beam the
house rested on, two feet were sticking out, shod in silver shoes with pointed toes.
"Oh, dear! Oh, dear!" cried Dorothy, clasping her hands together in dismay. "The house must have fallen on
her. Whatever shall we do?"
"There is nothing to be done," said the little woman calmly.
"But who was she?" asked Dorothy.
"She was the Wicked Witch of the East, as I said," answered the little woman. "She has held all the
Munchkins in bondage for many years, making them slave for her night and day. Now they are all set free, and
are grateful to you for the favor."
Lesson Topic: Write an effective summary
Question 1:
Read the following text. Pay attention to the key ideas and the theme, and think about how to best summarize
what you have read.
An excerpt from
Middlemarch
By George Eliot
Early in the day Dorothea had returned from the infant school which she had set going in the village, and
was taking her usual place in the sitting-room which divided the bedrooms of the sisters, bent on finishing a
plan for some buildings (a kind of work which she delighted in), when Celia, who had been watching her with a
hesitating desire to propose something, said—
"Dorothea, dear, if you don't mind—if you are not very busy—suppose we looked at mamma's jewels to-
day, and divided them? It is exactly six months today since uncle gave them to you, and you have not looked at
them yet."
Celia's face had the shadow of a pouting expression in it, the full presence of the pout being kept back by a
habitual awe of Dorothea and her principles. To her relief, Dorothea's eyes were full of laughter as she looked
up.
"What a wonderful little almanac you are, Celia! Is it six calendar or six lunar months?"
"It is the last day of September now, and it was the first of April when uncle gave them to you. You know, I
believe you have never thought of the jewels since you locked them up in the cabinet here."
"Well, dear, we should never wear them, you know." Dorothea spoke in a half soothing, half explanatory
tone. She had her pencil in her hand, and was still making notes.
Celia colored, and looked very grave. "I think, dear, we are wanting in respect to mamma's memory, to put
them by and take no notice of them. And," she added, after hesitating a little, "necklaces are quite usual now;
and Madame Poincon, who was stricter in some things even than you are, used to wear ornaments. And
Christians generally—surely there are women in heaven now who wore jewels." Celia was conscious of some
mental strength when she really applied herself to argument.
"You would like to wear them?" exclaimed Dorothea, an air of astonished discovery. "Of course, then, let us
have them out. Why did you not tell me before? Pray open the large drawer of the cabinet and get out the
jewel-box."
The casket was soon open before them, and the various jewels spread out, making a bright pattern on the
table. It was no great collection, but a few of the ornaments were really of remarkable beauty. The finest was a
pearl cross with five brilliants in it. Dorothea immediately took up the necklace and fastened it round her sister's
neck, where it fitted almost as closely as a bracelet.
Celia was trying not to smile with pleasure. "O Dodo, you must keep the cross yourself."
"No, no, dear, no," said Dorothea, putting up her hand with careless deprecation.
Celia had unclasped the necklace and drawn it off. "It would be a little tight for your neck" she said, with
some satisfaction. The unfitness of the necklace for Dorothea, made Celia happier in taking it. She was
opening some ring-boxes, which disclosed a fine emerald with diamonds, when the sun passed beyond a cloud
and sent a bright gleam over the table.
"How very beautiful these gems are!" said Dorothea, under a new current of feeling, as sudden as the
gleam. "It is strange how deeply colors seem to penetrate one, like scent. I suppose that is the reason why
gems are used as spiritual emblems in the Revelation of St. John. They look like fragments of heaven. I think
that emerald is more beautiful than any of them."
"And there is a bracelet to match it," said Celia. "We did not notice this at first."
"They are lovely," said Dorothea, slipping the ring and bracelet on her finely turned finger and wrist, and
holding them towards the window on a level with her eyes. All the while her thought was trying to justify her
delight in the colors by merging them in her mystic religious joy.
"You would like those, Dorothea," said Celia, rather falteringly, beginning to think with wonder that her sister
showed some weakness. "You must keep that ring and bracelet—if nothing else."
"Yes, dear, I will keep these," said Dorothea, decidedly. "But take all the rest away, and the casket."
"Shall you wear them in company?" said Celia, who was watching her with real curiosity as to what she
would do.
Dorothea glanced quickly at her sister. "Perhaps," she said, rather haughtily. "I cannot tell to what level I
may sink."
Question 2:
How should you determine the order of the events in the summary?
Provide the events first, then share your opinions about the text.
Start with the least important events and lead up to the most important.
Start with the most important events.
Follow the same chronology as the original passage.
Question 3:
How can you tell whether an event is important to include in a summary?
Ask whether the event was amusing and whether you could relate it to your own life.
Ask whether the event was important enough to get an entire paragraph in the original
text.
Ask whether the event helps to create a change in the story and answer why the story was
told.
Ask whether the event is possible in any other story.
Question 4:
Which summary best exemplifies the proper structure of a summary?
At the end of the story, the children are safe, but at the beginning of the story, they are in great danger.
Before they even get to the gingerbread house, they have to go through the woods. They leave a trail of
crumbs to get home, but the birds eat them, just as the witch threatens to eat them later. The children
manage to trick the witch and escape. They are not eaten up by the witch because they are able to help one
another as they plan their escape. What a ridiculous story!
In this fairytale, the author shows how children can learn to rely on each other without the help of adults.
Two children are about to be abandoned in the woods by their parents. Warned ahead of time about the plot
to abandon them, the children try to leave a trail of breadcrumbs to find their way home. Birds eat the
crumbs, and the children are lost. They wander towards a gingerbread house, which turns out to be the
home of a witch who preys on children. The children manage to trick the witch and escape from disaster by
helping each other.
the first summary
the second summary
Question 5:
Read this excerpt from The Adventures of Tom Sawyer by Mark Twain, paying close attention to the key ideas
of the story.
Chapter 1
"TOM!"
No answer.
"TOM!"
No answer.
"What's gone with that boy, I wonder? You TOM!"
No answer.
The old lady pulled her spectacles down and looked over them about the room; then she put them up and
looked out under them. She seldom or never looked THROUGH them for so small a thing as a boy; they were
her state pair, the pride of her heart, and were built for "style," not service—she could have seen through a pair
of stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough
for the furniture to hear:
"Well, I lay if I get hold of you I'll—"
She did not finish, for by this time she was bending down and punching under the bed with the broom, and
so she needed breath to punctuate the punches with. She resurrected nothing but the cat.
"I never did see the beat of that boy!"
She went to the open door and stood in it and looked out among the tomato vines and "jimpson" weeds that
constituted the garden. No Tom. So she lifted up her voice at an angle calculated for distance and shouted:
"Y-o-u-u TOM!"
There was a slight noise behind her and she turned just in time to seize a small boy by the slack of his
roundabout and arrest his flight.
"There! I might 'a' thought of that closet. What you been doing in there?"
"Nothing."
"Nothing! Look at your hands. And look at your mouth. What IS that truck?"
"I don't know, aunt."
"Well, I know. It's jam—that's what it is. Forty times I've said if you didn't let that jam alone I'd skin you. Hand
me that switch."
The switch hovered in the air—the peril was desperate—
"My! Look behind you, aunt!"
The old lady whirled round, and snatched her skirts out of danger. The lad fled on the instant, scrambled up
the high board-fence, and disappeared over it.
His Aunt Polly stood surprised a moment, and then broke into a gentle laugh.
"Hang the boy, can't I never learn anything? Ain't he played me tricks enough like that for me to be looking
out for him by this time? But old fools is the biggest fools there is. Can't learn an old dog new tricks, as the
saying is. But my goodness, he never plays them alike, two days, and how is a body to know what's coming?
He 'pears to know just how long he can torment me before I get my dander up, and he knows if he can make
out to put me off for a minute or make me laugh, it's all down again and I can't hit him a lick. I ain't doing my
duty by that boy, and that's the Lord's truth, goodness knows. Spare the rod and spoil the child, as the Good
Book says. I'm a laying up sin and suffering for us both, I know, but laws-a-me! He's my own dead sister's boy,
poor thing, and I ain't got the heart to lash him, somehow. Every time I let him off, my conscience does hurt me
so, and every time I hit him my old heart most breaks. Well-a-well, man that is born of woman is of few days
and full of trouble, as the Scripture says, and I reckon it's so. He'll play hookey this evening, and I'll just be
obleeged to make him work, tomorrow, to punish him. It's mighty hard to make him work Saturdays, when all
the boys is having holiday, but he hates work more than he hates anything else, and I've GOT to do some of
my duty by him, or I'll be the ruination of the child."
Tom did play hookey, and he had a very good time.
Lesson Topic: Write an objective summary
Question 1:
Which of the following statements is objective?
This story is boring because it lacks action.
You will be surprised by the detective's ability to find small clues.
The little girl in the story has long, red pigtails.
This poem is difficult to understand and should only be read by high school students.
Question 2:
Which of the following statements is an opinion?
The plane landed in Houston at 1:37 a.m.
The man sitting next to me stood over six feet tall.
The average height of men is greater than the average height of women.
The large man on the seat next to me was extremely rude.
Question 3:
Confederacy of Dunces, by John Kennedy Toole, provides an interesting perspective on life in New
Orleans in the 1960s. The plot centers on Ignatius Reilly, who is overweight, antisocial, and flatulent. Reilly
has many adventures and misadventures as he enters the work force.
Read the passage above. Are there any opinions or biases in this summary?
Yes, because the writer calls this book "an interesting perspective."
Yes, because the writer says this book is written by John Kennedy Toole.
No, because the writer objectively lists all the events in the book.
No, because the writer says that the character is "overweight, antisocial, and flatulent."
Question 4:
In this fairytale, two children are about to be abandoned in the woods by their parents. Warned ahead of
time about the plot, the children leave a trail of breadcrumbs to find their way home. The birds eat the
crumbs, and the children become lost. They wander towards a gingerbread house, which turns out to be the
home of a witch who preys on children. The children manage to trick the witch, and they escape from
disaster together. This shows that children can rely on each other without the help of adults.
Read the summary above. Which statement is an opinion?
In this fairytale, two children are about to be abandoned in the woods by their parents.
Warned ahead of time about the plot, the children leave a trail of breadcrumbs to find their
way home.
The birds eat the crumbs, and the children become lost. They wander towards a
gingerbread house, which turns out to be the home of a witch who preys on children.
The children manage to trick the witch and escape from disaster by helping each other.
The children manage to trick the witch, and they escape from disaster together.
none of the above
Question 5:
Once there was a fierce, defiant,

Greedy, grumpy, grizzly giant
In the pages of a picture-book, and he
Sometimes screamed, in sudden rages,
“I must jump out from these pages,
For this life’s a much too humdrum one for me! Fiddle-dee!
Yes, this life’s a quite too quiet one for me!”
So one rainy day he did it,
Took the picture-book and hid it,
Stamped his foot, and shouting loudly, “Now I’m free!”
Boldly started out, forgetting
That he could not stand a wetting!
He was just a paper giant, don’t you see? Dearie me!
Just a gaudy, picture giant, don’t you see?
-"The Picture Book Giant" by Evaleen Stein
Read the passage above. Which of these statements objectively summarizes the passage?
This story is about a rebellious giant who escapes from his book but runs into trouble
because he is only made of paper.
This is a silly story about a giant that tries to escape from the pages of his book but soon
realizes he is only made of paper.
This story is about a giant who foolishly tries to escape the storybook to which he belongs.
Obviously he is unable to since he is made of paper.
none of the above

Lesson: Interactive Elements of Stories
Lesson Topic: Analyze how conflict drives plot
Question 1:
Read the passage.
"I want to see my child!" Mr. Button almost shrieked. He was on the verge of collapse.
Clank! The basin reached the first floor. The nurse regained control of herself, and threw Mr. Button a
look of hearty contempt.
"All right, Mr. Button," she agreed in a hushed voice. "Very well! But if you knew what a state it's put us all
in this morning! It's perfectly outrageous! The hospital will never have a ghost of a reputation after—"
"Hurry!" he cried hoarsely. "I can't stand this!"
"Come this way, then, Mr. Button."
He dragged himself after her. At the end of a long hall they reached a room from which proceeded a
variety of howls—indeed, a room which, in later parlance, would have been known as the "crying-room."
They entered.
"Well," gasped Mr. Button, "which is mine?"
"There!" said the nurse.
Mr. Button's eyes followed her pointing finger, and this is what he saw. Wrapped in a voluminous white
blanket, and partly crammed into one of the cribs, there sat an old man apparently about seventy years of
age. His sparse hair was almost white, and from his chin dripped a long smoke-colored beard, which waved
absurdly back and forth, fanned by the breeze coming in at the window. He looked up at Mr. Button with dim,
faded eyes in which lurked a puzzled question.
"Am I mad?" thundered Mr. Button, his terror resolving into rage. "Is this some ghastly hospital joke?
"It doesn't seem like a joke to us," replied the nurse severely. "And I don't know whether you're mad or not
—but that is most certainly your child."
The cool perspiration redoubled on Mr. Button's forehead. He closed his eyes, and then, opening them,
looked again. There was no mistake—he was gazing at a man of threescore and ten—a baby of threescore
and ten, a baby whose feet hung over the sides of the crib in which it was reposing.
The old man looked placidly from one to the other for a moment, and then suddenly spoke in a cracked
and ancient voice. "Are you my father?" he demanded.
Mr. Button and the nurse started violently.
"Because if you are," went on the old man querulously, "I wish you'd get me out of this place—or, at least,
get them to put a comfortable rocker in here."
"Where in God's name did you come from? Who are you?" burst out Mr.
Button frantically.
"I can't tell you exactly who I am," replied the querulous whine, "because I've only been born a few hours
—but my last name is certainly Button."
"You lie! You're an impostor!"
The old man turned wearily to the nurse. "Nice way to welcome a new-born child," he complained in a
weak voice. "Tell him he's wrong, why don't you?"
"You're wrong. Mr. Button," said the nurse severely. "This is your child, and you'll have to make the best
of it. We're going to ask you to take him home with you as soon as possible-some time to-day."
"Home?" repeated Mr. Button incredulously.
"Yes, we can't have him here. We really can't, you know?"
"I'm right glad of it," whined the old man. "This is a fine place to keep a youngster of quiet tastes. With all
this yelling and howling, I haven't been able to get a wink of sleep. I asked for something to eat"—here his
voice rose to a shrill note of protest—"and they brought me a bottle of milk!"
Mr. Button, sank down upon a chair near his son and concealed his face in his hands. "My heavens!" he
murmured, in an ecstasy of horror. "What will people say? What must I do?"
"You'll have to take him home," insisted the nurse—"immediately!"
-From "The Curious Case of Benjamin Button" by F. Scott Fitzgerald
Based on the conflict that is revealed in this passage, what would you expect to occur as the plot continues?
Mr. Button struggles to come up with an explanation for friends and family.
Mr. Button tries to conceal his son's condition from others.
Baby Button experiences some confusion over the differences between himself and other
children.
Baby Button begins behaving like a normal infant when he arrives home.
The hospital invites a newspaper reporter to write a story on baby Button.
Question 2:
In Mary Shelley's Frankenstein, a scientist is fascinated by the possibility of assembling a living human
being out of nonliving organs and tissues. When he succeeds in bringing the creature to life, he is horrified
and views his creation as a monster instead of a man. As a result of the rejection of his maker, the creation
escapes and travels the countryside, eventually killing several people in his rage. The scientist tracks the
monster and struggles with how to address the results of his terrible experiment.
Based on the plot summary, what is the central conflict?
how the scientist will succeed in bringing his creation to life
how the scientist will deal with the consequences of his experiment
how the scientist will explain his creation to the scientific community
how the scientist's creation escapes from his laboratory
Question 3:
A young man wants nothing more than to become an artist and apprentice in the workshop of a master
painter. However, it is customary for sons to take on the trade of their fathers in order to carry on the family
business. As a result, his family laughs at his dreams of being an artist and expects him to fulfill his traditional
role. Despite the lack of support, the young man goes to the city to try to meet his favorite painter and
convince the artist to accept him as an apprentice.
Based on the plot summary, what is the central conflict?
the young man's indecision over his career options
the young man's resistance against tradition
the young man's effort to convince the painter to take him on
the young man's argument with his family
Question 4:
Summary 1
Ingrid and Paulo attend the same school, are in the same class, and both join the Student Council. When
elections begin for Student Council, both Ingrid and Paulo decide to run for president. As campaigns get
underway their friendship begins to turn into an intense rivalry.
Summary 2
Julia and Aubrey decide that they will go to pool for the day since the weather is nice. They go and enjoy
the day, swimming, reading, and talking. After the temperatures start to taper off late in the day, and they
begin to get tired of the pool, they decide to go to Aubrey's house for an early dinner.
Summary 3
Timir is a star player on the school lacrosse team. One Saturday, the team has a very important away
game and the players are supposed to meet at school at 8 a.m. in order to board the bus. Timir accidentally
oversleeps and scrambles to try to find a way to get to the game.
Summary 4
Alice and Maggie decide to go for a hike to the valley near their home. They enjoy the beautiful scenery
and the outdoor activity as they make their way along the trail. The hike is uneventful until they notice dark
clouds building overhead. Before long, the wind is howling, snapping branches off of trees, and the girls are
forced to seek shelter.
Which of the plot summaries lacks a central problem that drives the action?
Summary 1
Summary 2
Summary 3
Summary 4
none of the above
Question 5:
Read the excerpt and answer the questions that follow.
Adapted from
The Cask of Amontillado
By Edgar Allan Poe
The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed
revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a
threat. At length I would be avenged; this was a point definitely settled—but the very definitiveness with which it
was resolved, precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is
unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make
himself felt as such to him who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I
continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought
of his immolation.*
He had a weak point—this Fortunato—although in other regards he was a man to be respected and even
feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the
most part their enthusiasm is adopted to suit the time and opportunity—to practise imposture upon the British
and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack—but in the
matter of old wines he was sincere. In this respect I did not differ from him materially: I was skillful in the Italian
vintages myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my
friend. He accosted me with excessive warmth. The man wore motley. He had on a tight-fitting parti-striped
dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him, that I thought I
should never have done wringing his hand.
I said to him—"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day! But I
have received a barrel of what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado? A barrel? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you
in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He will tell me—"
"Luchesi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own."
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchesi—"
"I have no engagement;—come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The
vaults are insufferably damp. They are encrusted with nitre."
"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for
Luchesi, he cannot distinguish Sherry from Amontillado."
Thus speaking, Fortunato possessed himself of my arm. Putting on a mask of black silk, and drawing a
roquelaire* closely about my person, I suffered him to hurry me to my palazzo.
There were no attendants at home; they had absconded* to make merry in honour of the time. I had told
them that I should not return until the morning, and had given them explicit orders not to stir from the house.
These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my
back was turned.
I took from their sconces two torches, and giving one to Fortunato, bowed him through several suites of
rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be
cautious as he followed. We came at length to the foot of the descent, and stood together on the damp ground
of the catacombs* of the Montresors.
*immolation: destruction
*roquelaire: a cloak
*absconded: to go away, usually with an effort at secrecy
*catacombs: underground tombs and passageways

Lesson Topic: Understand how the protagonist and antagonist drive action
Question 1:
Zhang Li knew that women were forbidden from attending council meetings, but she didn't trust the
secondhand accounts of the proceedings that she would get if she followed the rules. She had told her best
friend, Li Na, about her plan, and Li Na had advised her not to take such a daring risk. Zhang Li glanced
around furtively and then pulled her robe up so that it partially shielded her face. She slipped into the stream
of men entering the council chambers and hoped that everyone would be too occupied by the discussions
between the community elders to notice her.
Who or what are the protagonist and antagonist in this passage?
Zhang Li is the protagonist and the community leaders are the antagonists.
Zhang Li is the protagonist and society is the antagonist.
Li Na is the protagonist and Zhang Li is the antagonist.
Society is the protagonist and Zhang Li is the antagonist.
Question 2:
Read the story and answer the questions that follow.
Adapted from
The Gorgon's Head
from A Wonder-Book for Girls and Boys
By Nathaniel Hawthorne
Perseus was the son of Danaë, who was the daughter of a king. And when Perseus was a very little boy,
some wicked people put his mother and himself into a chest, and set them afloat upon the sea. The chest
sailed on, and neither sank nor was upset; until, when night was coming, it floated so near an island that it got
entangled in a fisherman's nets and was drawn out high and dry upon the sand. The island was called
Seriphus, and it was reigned over by King Polydectes, who happened to be the fisherman's brother.
The kind fisherman cared for Perseus and his mother. As Perseus grew into a strong and handsome youth,
King Polydectes grew jealous of him, and plotted to have him killed. He devised a plan to send Perseus on a
quest to kill the Gorgon Medusa and bring back her head. This was such a dangerous task that the king
believed it would surely end Perseus’s life.
Now, there were three Gorgons alive at that period; and they were the most strange and terrible monsters
that had ever been since the world was made, or that have been seen in after days, or that are likely to be
seen in all time to come. They were three sisters, and seem to have borne some distant resemblance to
women, but were really a very frightful and mischievous species of dragon. Instead of locks of hair, they had
each of them a hundred enormous snakes growing on their heads, all alive, twisting, wriggling, curling, and
thrusting out their venomous tongues, with forked stings at the end! The teeth of the Gorgons were terribly
long tusks; their hands were made of brass; and their bodies were all over scales, which, if not iron, were
something as hard and impenetrable. They had wings, too, and exceedingly splendid ones; for every feather in
them was pure, bright, glittering, burnished gold, and they looked very dazzlingly, no doubt, when the Gorgons
were flying about in the sunshine.
But when people happened to catch a glimpse of their glittering brightness, aloft in the air, they seldom
stopped to gaze, but ran and hid themselves as speedily as they could. For the worst thing about these
abominable Gorgons was that if once a poor mortal fixed his eyes full upon one of their faces, he was certain,
that very instant, to be changed from warm flesh and blood into cold and lifeless stone!
Thus it was a very dangerous adventure that the wicked King Polydectes had contrived for this innocent
young man. Perseus himself, when he had thought over the matter, could not help seeing that he had very little
chance of coming safely through it, and that he was far more likely to become a stone image than to bring back
the head of Medusa with the snaky locks.
He therefore took his shield, girded on his sword, and crossed over from the island to the mainland, where
he sat down in a solitary place, and hardly refrained from shedding tears.
But, while he was in this sorrowful mood, he heard a voice close beside him. "Perseus," said the voice, "why
are you sad?"
He lifted his head from his hands, in which he had hidden it, and, behold! there was a stranger in the
solitary place. It was a brisk, intelligent, and remarkably shrewd-looking young man, with a cloak over his
shoulders, an odd sort of cap on his head, a strangely twisted staff in his hand, and a short and very crooked
sword hanging by his side. The stranger had such a cheerful, knowing, and helpful aspect, that Perseus could
not help feeling his spirits grow livelier as he gazed at him. So Perseus wiped his eyes, and answered the
stranger pretty briskly, putting on as brave a look as he could.
"I am not so very sad," said he, "only thoughtful about an adventure that I have undertaken."
"Oho!" answered the stranger. "Well, tell me all about it, and possibly I may be of service to you. I have
helped a good many young men through adventures that looked difficult enough beforehand. Perhaps you
may have heard of me. I have more names than one; but the name of Quicksilver suits me as well as any
other. Tell me what the trouble is, and we will talk the matter over, and see what can be done."
The stranger's words and manner put Perseus into quite a different mood from his former one. He let the
stranger know, in few words, precisely what the case was, and how he was afraid of being turned into stone.
"And that would be a great pity," said Quicksilver, with his mischievous smile. "You would make a very
handsome marble statue, it is true, and it would be a considerable number of centuries before you crumbled
away; but, on the whole, one would rather be a young man for a few years than a stone image for a great
many. Now, before we go any farther on this quest, give way to pause and polish your tarnished shield until
you can see your own handsome face gazing back at you."
This seemed to Perseus rather an odd beginning of the adventure; for he thought it of far more
consequence that the shield should be strong enough to defend him from the Gorgon's brazen claws, than that
it should be bright enough to show him the reflection of his face. However, he immediately set to work, and
scrubbed the shield with so much diligence and good-will, Quicksilver looked at it with a smile. Then, taking off
his own short and crooked sword, he girded it about Perseus, instead of the one which he had before worn.
"No sword but mine will answer your purpose," observed he; "the blade has a most excellent temper, and
will cut through iron and brass as easily as through the slenderest twig."
Then, Quicksilver also bestowed a helmet with a dark tuft of waving plumes upon Perseus. And now there
happened about as wonderful an incident as anything that I have yet told you. The instant before the helmet
was put on, there stood Perseus, a beautiful young man, with golden ringlets and rosy cheeks, the crooked
sword by his side, and the brightly polished shield upon his arm—a figure that seemed all made up of courage,
sprightliness, and glorious light. But when the helmet had descended over his white brow, there was no longer
any Perseus to be seen! Nothing but empty air! Even the helmet, that covered him with its invisibility, had
vanished!
"Where are you, Perseus?" asked Quicksilver.
"Why, here, to be sure!" answered Perseus, very quietly, although his voice seemed to come out of the
transparent atmosphere. "Just where I was a moment ago. Don't you see me?"
"No, indeed!" answered his friend. "You are hidden under the helmet. But, if I cannot see you, neither can
the Gorgons. Follow me."
Perseus and Quicksilver traveled by air to the island where the Gorgon Medusa lived with her sisters.
Straight downward, two or three thousand feet below him, Perseus perceived a small island, with the sea
breaking into white foam all around its rocky shore, except on one side, where there was a beach of snowy
sand. Behold, there were the terrible Gorgons!
They lay fast asleep, soothed by the thunder of the sea, dreaming of tearing some poor mortal all to pieces.
The snakes that served them instead of hair seemed likewise to be asleep; although, now and then, one would
writhe, and lift its head, and thrust out its forked tongue and emit a drowsy hiss.
"Now," whispered Quicksilver, as he hovered by the side of Perseus, "now is your time to do the deed! Be
quick; for, if one of the Gorgons should awake, you are too late!"
"Which shall I strike at?" asked Perseus, drawing his sword and descending a little lower. "They all three
look alike."
"One of the Gorgons is stirring in her sleep, and is just about to turn over. That is Medusa. Do not look at
her! The sight would turn you to stone! Look at the reflection of her face and figure in the bright mirror of your
shield."
Perseus now understood Quicksilver's motive for so earnestly exhorting him to polish his shield. In its
surface he could safely look at the reflection of the Gorgon's face. And there it was—that terrible countenance
—mirrored in the brightness of the shield, with the moonlight falling over it, and displaying all its horror. It was
the fiercest and most horrible face that ever was seen or imagined, and yet with a strange, fearful, and savage
kind of beauty in it. The eyes were closed, and the Gorgon was still in a deep slumber; but there was an
unquiet expression disturbing her features, as if the monster was troubled with an ugly dream.
The snakes, too, seemed to feel Medusa's dream, and to be made more restless by it. They twined
themselves into tumultuous knots, writhed fiercely, and uplifted a hundred hissing heads, without opening their
eyes.
"Now, now!" whispered Quicksilver, who was growing impatient. "Make a dash at the monster!"
Perseus flew cautiously downward, still keeping his eyes on Medusa's face, as reflected in his shield. At last,
when he found himself hovering over her within arm's length, Perseus uplifted his sword, while, at the same
instant, each separate snake upon the Gorgon's head stretched threateningly upward, and Medusa unclosed
her eyes. But she awoke too late. The sword was sharp; the stroke fell like a lightning-flash; and the head of
the wicked Medusa tumbled from her body! As quick as thought, he snatched up the head, with the snakes still
writhing upon it, and thrust it into a magic bag that Quicksilver had given to him.
Perseus went straight to the palace, and was immediately ushered into the presence of the king. Polydectes
was by no means rejoiced to see him; for he had felt almost certain, in his own evil mind, that the Gorgons
would have torn the poor young man to pieces, and have eaten him up, out of the way. However, seeing him
safely returned, he put the best face he could upon the matter and asked Perseus how he had succeeded.
"Have you performed your promise?" inquired he. "Have you brought me the head of Medusa with the
snaky locks?
"Yes, please your Majesty," answered Perseus.
"Indeed! Pray let me see it," quoth King Polydectes. "It must be a very curious spectacle, if all that travelers tell
about it be true!"
"Your Majesty is in the right," replied Perseus. "It is really an object that will be pretty certain to fix the regards
of all who look at it. And, if your Majesty think fit, I would suggest that a holiday be proclaimed, and that all your
Majesty's subjects be summoned to behold this wonderful curiosity. Few of them, I imagine, have seen a
Gorgon's head before, and perhaps never may again!"
On a platform, within full view of the balcony, sat the mighty King Polydectes, amid his evil counselors, and
with his flattering courtiers in a semicircle round about him.
"Show us the head! Show us the head!" shouted the people; and there was a fierceness in their cry as if
they would tear Perseus to pieces, unless he should satisfy them with what he had to show. "Show us the head
of Medusa with the snaky locks!"
A feeling of sorrow and pity came over the youthful Perseus. "O King Polydectes," cried he, "and ye many
people, I am very loath to show you the Gorgon's head!"
"Ah, the villain and coward!" yelled the people, more fiercely than before. "He is making game of us! He has
no Gorgon's head! Show us the head, if you have it, or we will take your own head for a football!"
The great King Polydectes himself waved his hand, and ordered him, with the stern, deep voice of authority,
on his peril, to produce the head.
"Show me the Gorgon's head, or I will cut off your own!"
And Perseus sighed.
"Behold it, then!" cried Perseus, in a voice like the blast of a trumpet.
And, suddenly holding up the head, not an eyelid had time to wink before the wicked King Polydectes, his
evil counselors, and all his fierce subjects were no longer anything but the mere images of a monarch and his
people. At the first glimpse of the terrible head of Medusa, they whitened into marble! And Perseus thrust the
head back into his bag, and went to tell his dear mother that she need no longer be afraid of the wicked King
Polydectes.
Question 3:
Is it reasonable to say that this plot contains two antagonists? Why or why not?
Yes, because Perseus's initial antagonist King Polydectes introduces Medusa as a second
antagonist by sending Perseus on a quest to behead her.
Yes, because both Perseus and King Polydectes are antagonists in opposition to Medusa,
since they both want her to be killed.
No, because King Polydectes is the only opponent that Perseus must overcome
throughout the story's plot.
No, because Perseus is the only antagonist since he is the single opponent of both King
Polydectes and Medusa throughout the story's plot.
Question 4:
What is the best explanation of how the conflict between the story's protagonist and antagonists drives the
plot's action?
King Polydectes's hatred of Perseus is the motivation for sending him on the quest for
Medusa's head. As a result, Perseus must figure out how to conquer Medusa in order to
both survive and satisfy King Polydectes.
Perseus's confrontations with Medusa and King Polydectes are two separate conflicts that
he must overcome in the plot. These two conflicts occur at different points in the plot,
producing an even distribution of action.
King Polydectes's hatred of Perseus serves as background information for the reader as
the events progress independently of that information. Perseus must figure out how to
conquer Medusa in order to both survive and satisfy King Polydectes.
all of the above
Question 5:
How does the encounter between Perseus and King Polydectes at the end of the story contribute to the plot's
progression?
It provides background information about King Polydectes's cruel character.
It builds on the tension established by Perseus's encounter with Medusa.
It reveals the resolution of the plot's action.
It establishes Perseus as the protagonist.

Lesson Topic: Analyze how characters affect plot
Question 1:
Read the passage.
I expressed myself in measured terms, with the modesty and deference due from a youth to his instructor,
without letting escape (inexperience in life would have made me ashamed) any of the enthusiasm which
stimulated my intended labors. I requested his advice concerning the books I ought to procure.
"I am happy," said M. Waldman, "to have gained a disciple; and if your application equals your ability, I
have no doubt of your success. Chemistry is that branch of natural philosophy in which the greatest
improvements have been and may be made; it is on that account that I have made it my peculiar study; but
at the same time, I have not neglected the other branches of science. A man would make but a very sorry
chemist if he attended to that department of human knowledge alone. If your wish is to become really a man
of science and not merely a petty experimentalist, I should advise you to apply to every branch of natural
philosophy, including mathematics." He then took me into his laboratory and explained to me the uses of his
various machines, instructing me as to what I ought to procure and promising me the use of his own when I
should have advanced far enough in the science not to derange their mechanism. He also gave me the list of
books which I had requested, and I took my leave.
-Adapted from Frankenstein by Mary Wollstonecraft Shelley
Based on what this passage reveals about the narrator, which of the following plot developments is most likely?
Based on his enthusiasm for the sciences and respect for his instructor, the narrator will
probably follow the professor's advice and study what he recommends.
Based on his stubbornness and reluctance to take advice, the narrator will probably study
what he wants, rather than what the professor recommends.
Based on his lack of intelligence and his boredom with academic studies, the narrator will
probably decide to abandon the study of the sciences in favor of a less challenging field.
Based on his love of science and experimentation, the narrator will probably immediately
begin conducting experiments, deciding that trial and error is more productive than study.
Question 2:
Read the excerpt, thinking about how the individual characters influence dynamics with other characters, the
progression of the action, and potential themes.
An Excerpt from
Makers of Madness
By Hermann Hagedorn
SCENE I
A room in the Ministry of War in the capital of Iberia.
Evening.
The minister of war, a tall, stern, bearded man with deep-set eyes and many furrows, is sitting at a large,
mahogany desk-table, Left.
The chief of staff, silent, motionless and watchful, stands beside him with his hands resting on the table-top. He
is thin, old and emaciated, clean-shaven, firm-lipped, and looks startlingly like a bird of prey. Right, stands a
group of generals and other officers.
MINISTER OF WAR:
[Rising and speaking in a sharp, crisp bass voice.]
I can only repeat, gentlemen, what his Excellency, the Chief of Staff, has already made clear to you. Nothing
has been decided. You have your orders in your pockets. There may be war and there may not be war. I
understand, gentlemen, your natural impatience once more to draw the naked steel for the glory of our
country, and you may rest assured that his gracious majesty, the King, will not forget that his fame and the
happiness of his people rests ultimately in your hands. Personally, as a man of family, I pray that peace may
be preserved. But if our enemy, by his insolence, forces us to draw the sword, I know that you will wield it with
honor and will not sheathe it until our enemy is crushed, root and branch, stock and barrel, and brought so low
that he will never raise his head again in dishonorable defiance of our holy rights.
[The officers shout with enthusiasm, lifting their helmets in air. The minister of war sits down again.]
That is all, gentlemen.
[With a grim smile.]

But I recommend that you do not send your service uniforms to the tailor tonight. You may have need of them.
[There is another cheer. The officers stand about in groups a minute or so, then file out through the double-
door in the centre of the rear wall. One elderly general, only, comes up quickly to the desk.]
GENERAL:
[In a rasping voice, to the chief of staff.]
Delay again? Aren't we ever going to get at their throats?
CHIEF OF STAFF:
We are ready. But the King!
[He shrugs his shoulders.]
The peace propagandists are after him. Mediation is the magic word. Mediation—by which the neutral nations
block our legitimate road to victory for their own benefit, in the name of civilization and progress.
GENERAL:
Old women's talk.
[With a swagger.]
Give me a sword in my right hand again, I say! I'll break open a few skulls yet, for all my sixty years. Eh?
Mediation! Let those mediate, I say, who are afraid to fight!
CHIEF OF STAFF:
[Calmly, dispassionately.]
We are not mediating yet. You may tell that to your friends if they become downhearted.
GENERAL:
[Saluting.]
To command, your Excellency! It is good that some one looks out for the honor of the army.
[Saluting again.]
Good night, gentlemen!
[The minister of war half rises and bows slightly. The chief of staff nods. Exit the general.]
CHIEF OF STAFF:
[With a flash in his old eyes.]
Ha! Once more to have those fellows behind me. Think of it! Each man of them represents fifty thousand. And
behind them another million and another! God! What a machine to handle.
[He slaps his forehead.]
And the old brain working still!
MINISTER OF WAR:
[Rising and crossing to a window, right forward, then speaking thoughtfully.]
I don't know, Clement. I am growing old. I think sometimes that war is the most terrible matter in which we
erring humans become engaged. I have always thought that—at times.
CHIEF OF STAFF:
[Who has crossed to the Left and stands facing a map of the world, covering half the wall.]
So you are a sentimentalist, after all?
MINISTER OF WAR:
[Looking out of the window.]
No. Because there is something stronger in me, conquering the repulsion. My temperament, character,
destiny. I am impelled to war. A dozen generations of soldiers in my blood press me on. My whole education
presses me on. My sympathies and my religious sense make me tremble before the impending horror, but—I
confess to you—I believe I want this war.
CHIEF OF STAFF:
[Without turning.]
So do we all. War is the soldier's work. And he does not want to play all his life. Look. We land here and here
and here.
[He indicates places on the map with a paper-cutter, speaking with growing excitement.]
No defenses, except at this place—a masonry fort built thirty years ago. Bad cement, moreover. Fraudulent
contractor. Then—
MINISTER OF WAR:
[Returning to his desk, resolutely.]
No, you old hawk, we're not going to do it. We'll be content to settle ourselves in peaceful graves, you and I
and the old Chief. No war, no war!
CHIEF OF STAFF:
[Calmly.]
That is sentiment. Here is fact. We land here and here and here. Then march down here and up there, uniting
the armies. Rich country. I've never seen it, but I know it better than any letter-carrier in the district. We live on
the land, burning and pillaging if the inhabitants don't give us what we want. A little dose will tame them. We'll
sweep all before us in six weeks.
MINISTER OF WAR:
[In mock protest.]
Stop, man, stop! You make me want to try it.
CHIEF OF STAFF:
I can't stop. It's a game with me. I play it all day in my thoughts and all night I direct campaigns in my dreams.
A great game. Only sometimes I get tired of playing it on paper, and want to hear the real guns and see the
real battalions.
[A secretary enters with a message.]
SECRETARY:
[To Minister of War.]
A message from the King sent over from the Foreign Office. The Prime Minister was not there.
MINISTER OF WAR:
Let me have it.
[He takes the message and glances at it.]
What?
[With a gesture to the Secretary.]
That will do.
[Exit secretary.]
CHIEF OF STAFF:
Well?
MINISTER OF WAR:
[Flaring up.]
Look at this, look at it! The King is sending our national honor to the dogs. He has secretly resumed
communication with the Ambassador of the Republic, instead of doing what was natural and constitutional,
sending the man to us. He is going to compromise. Pack up your tin soldiers, old man. Take them home for
your grandchildren to play with. Our country evidently has no more use for them.
CHIEF OF STAFF:
[With compressed lips.]
Show me.
[He takes the paper and reads its contents aloud.]
"The King desires to inform the Foreign Office that, in pursuance of his well-known love of peace, he sent for
the Ambassador of the Republic this afternoon and outlined a plan that would satisfy the royal government and
at the same time yield certain points to the government of the Republic. The Ambassador was courteous, but,
although acknowledging the generosity of the King's offer, regretted that he was unable to consider any
compromise before communicating again with his government. The King replied that if his offers were refused
he could then have nothing further to say in the matter, but would have to turn it over entirely to his Ministers.
The King suggests to the Foreign Office that these facts be put before our Ambassadors abroad, and, to pacify
the public mind, be given at once to the newspapers."
My God, and you want peace!
MINISTER OF WAR:
[Harshly.]
Well, how do you like it?
CHIEF OF STAFF:
He's backed down, he's backed down. All the world will be shouting tomorrow how our King has backed down.
To accept defeat before you've begun to fight!
[He turns again to the map.]
If this other plan should be frustrated by the enemy's navy, look, we could land here and here and—
[The door opens and the prime minister enters. He is a stern, titanic figure in the sixties, sallow-skinned, gray-
haired.]
PRIME MINISTER:
[Standing in the doorway.]
Good evening, gentlemen. Counting your battalions?
CHIEF OF STAFF:
[Absorbed.]
And here, joining our armies at—
MINISTER:
Where have you been?
PRIME MINISTER:
Home on my estates, saying good-bye to my family.
[He smiles grimly, and with his cane makes a thrust, as if it is a sword.]
MINISTER OF WAR:
You think you are going to war?

PRIME MINISTER:
I know.
MINISTER OF WAR:
[Taking up the paper the chief of staff has let fall on the desk.]
Read that. It came from your office.
PRIME MINISTER:
[Takes it and begins to read.]
Eh? The King? Mediation?
[With growing anger.]
So? So? So?
[He lets the paper flutter to the floor.]
Very good. He can find a new Prime Minister. I resign.
CHIEF OF STAFF:
[Turning abruptly.]
No, you don't!
MINISTER OF WAR:
[Hotly.]
We stick together in this. You are not going to resign.

PRIME MINISTER:
My good friends, I am going to resign.
[He picks up the paper off the floor.]
Give me your seat at the desk. On the back of this ignoble parley, my resignation goes to him.
MINISTER OF WAR:
You are the support of the army. We go to the dogs, if you leave us.
PRIME MINISTER:
[Sitting at the desk.]
So? "The King suggests to the Foreign Office that these facts be put before our Ambassadors abroad and, to
pacify the public mind, be given at once to the newspapers." He suggests. So do I suggest—something
different.
CHIEF OF STAFF:
[In front of the map again.]
Three hundred thousand men here, turning the flank of a possible army marching north with that ridge of
mountains as a cover—If we can only have the chance!
PRIME MINISTER:
[Studying the message, suddenly.]
By Heaven! If—
MINISTER OF WAR:
What is it? You look as if—

PRIME MINISTER:
If nothing!
[He draws his pen through a section of the message and continues sitting in deep thought.]
CHIEF OF STAFF:
[With his back still turned to the others.]
I planned this campaign first some twenty years ago. But there was no navy then to speak of, and no airships.
It is more intricate now, but very much more interesting as an intellectual problem.
PRIME MINISTER:
[Indicating his glass.]
Another, good man.
MINISTER OF WAR:
[Refilling the prime minister's glass.]
You're smelling blood when you drink like that.
PRIME MINISTER:
[Turning to the chief of staff.]
Here! You are prepared, you say?
CHIEF OF STAFF:
[Calmly.]
I have been making my plans for twenty years. The present plans have been complete, except for slight
revisions, for three years.
PRIME MINISTER:
The army and navy are fully equipped?
MINISTER OF WAR:
Down to the last shoe-string.
PRIME MINISTER:
[To chief of staff.]
Would you say it would be better to wait a week or a month or even a year—or to strike at once?
CHIEF OF STAFF:
[Firmly and quietly.]
Strike at once.
MINISTER OF WAR:
You dreamers, you theorists! How about the King's negotiations?
PRIME MINISTER:
[Rising, with the message in his hand.]
Gentlemen, I have seen fit to abbreviate the King's message. I have not altered a word nor added a word. I
have merely omitted all that did not seem to me pertinent or useful. The message reads as follows: "The King
sent for the Ambassador of the Republic this afternoon and outlined a plan that would satisfy the royal
government. The Ambassador regretted that he was unable to consider any compromise. The King replied that
then he could have nothing more to say in the matter."
MINISTER OF WAR:
The other message was a timid call for negotiation. This is a trumpet call of defiance.
CHIEF OF STAFF:
[With quiet delight.]
The Republic will never swallow that.
PRIME MINISTER:
They are not supposed to. They will declare war, and then be the aggressors.
MINISTER OF WAR:
[Exultantly.]
The glory of war lives yet and will not let us perish in disgrace!
PRIME MINISTER:
[To minister of war.]
Where's your Secretary?
MINISTER OF WAR:
[Crossing to door.]
Secretary, here!
[secretary enters.]
PRIME MINISTER:
[Handing him the paper.]

To the telegraph-operator with this. It is to be sent to every news bureau in the city and to all our embassies
abroad.
MINISTER OF WAR:
Tomorrow, the mobilization!
CHIEF OF STAFF:
Tonight! I need those twelve hours for my war plans.
[The secretary holds the door open for the chief of staff who is about to go out when suddenly in the doorway
appears a young man of thirty, pale, dark, timid. He hesitates on the threshold.]
SECRETARY:
[Taken aback, bowing.]
Your Majesty!
CHIEF OF STAFF:
[Drawing back.]
My King!
[prime minister and minister of war bow.]
KING:
[Courteously.]
I trust I am not breaking in upon a matter that does not concern me?
PRIME MINISTER:
There is nothing that the King's servants may do that does not concern the King.
KING:
True. But sometimes the King is kept in ignorance nevertheless.
[To the secretary.]
What paper is that you have there, if you please?
SECRETARY:
[With an uneasy glance at the others.]
Here, your Majesty.
MINISTER OF WAR:
[Aside to secretary.]
Get out!
[Exit secretary.]
PRIME MINISTER:
It is the report of your Majesty's meeting with the Ambassador.
KING:
[Glancing at the paper and speaking in quick, excited tones.]
My message has been altered. It was a message of compromise for peace. It is a challenge now. Who did
this?
PRIME MINISTER:
Your Majesty sees the culprit before you.
KING:
Are you trying to make war?
PRIME MINISTER:
I am trying, your Majesty, to save the country from the results of your Majesty's indiscretion in calling the
Ambassador to your palace without consulting your Ministers. If we do not strike now we lose our prestige as a
great nation, our national honor is dragged in the dust. We have to fight. We cannot afford to back down.
KING:
[Striding across the room, agitatedly.
But this is unholy, barbaric—this deliberate concoction of a great, terrible war. I saw clearly this evening as I
was talking with the Ambassador how utterly without inner necessity this war-scare is. It is a made thing from
beginning to end, and I refuse absolutely to support it.
CHIEF OF STAFF:
[Deliberately.]
Your Majesty is an idealist. We are practical, and, I may say, far-seeing men. And we are the three men,
perhaps, who have given your Majesty the chair you sit on and made your kingdom what it is.
KING:
[Drawing himself up.]
I think I have not been ungrateful. But my people come first, and I will not have my people plunged into misery
for no valid necessity.
PRIME MINISTER:
Your Majesty, I have served you for fifteen years and I served your exalted father for twenty. You are right.
This war may be avoided. In two days this war-cloud could be so utterly dissipated that men would laugh here
and in the great Republic that for a day they had talked so hotly of war. Dissipated. For a year, for two years.
For always? No. The war must come sooner or later. It is a matter, in the first place, of prestige, of national
honor. But, more emphatically, it is a question of mathematics, revenue, taxes, industries, imports, exports.
[Crossing to left.]
There is a map of the world, your Majesty. This stretch of land there we need as a safety-valve. If we get that
we are safe. If we fail to get it we explode. Not at once. But sooner or later. Our army and navy have never
been in better shape. These two gentlemen can give your Majesty their word for that. But you can take mine,
too. The enemy's army is politically rotten, and weakened by sentimental peace propaganda. Their defenses
are inadequate and their navy likewise. Those things will change. Strike today—and they never raise their
heads again. Wait—and it is you who may be crushed.
KING:
[Sharply.]
That is a theory. Not a fact. Ten years may change the state of things entirely, particularly if we use those ten
years in preparations not for war but for peace, honest at home and abroad, just, open, civil, to our neighbors.
PRIME MINISTER:
Your Majesty, I look farther than ten years, farther than ten times ten years. And I have prepared for this
moment, this moment of our strength and our enemy's weakness. I have a right to insist that I, who have
brought your kingdom thus far, shall not have my hands tied when the moment for stern action arrives.
KING:
[With a whimsical smile.]
After all, my good Prime Minister, it is my kingdom, you know.
PRIME MINISTER:
[Moved.]
Your Majesty knows that what I have done I have done for your glory. I served you, and served you in all love
and devotion.
KING:
I know your devotion. But give me a fresh example of it. Keep my kingdom at peace with the world.
PRIME MINISTER:
That I cannot do.
KING:
You cannot? You will not.
Question 3:
They called him Mully, but his first name was David. His last name, the source of his nickname, was
Mulligan. He prided himself on his golf game, and ever since he entered retirement, it was a safe bet that on
any day without rain, you would find Mully on the golf course, advising anyone and everyone about his or her
swing. Some were happier to listen than others, but one thing was for sure: no one could match Mully on the
course.
Once or twice, a fellow golfer gave Mully a run for his money down the back 9 holes. When that
happened, a new tightness came into his jaw, and a steely soberness gleamed in his eye. After he'd
reclaimed the lead and he and his now-defeated rival were walking to the clubhouse, Mully would always clap
him on the back and crack a joke about how he'd been worried. But for the course regulars, the real worry
was what would ever happen if Mully actually lost.
Based on the description of Mully, which of the following characters would he most likely clash with?
a more skilled golfer
a golfer willing to listen to his swing advice
a very poor golfer
a golfer unwilling to listen to his swing advice

Question 4:
In a novel, the main character, Janelle, is described as someone who is very dedicated to her studies.
She takes pride not only in her high grades, but also in mastering the subject matter. She genuinely enjoys
the process of learning. One day, Janelle settles into her desk in history class, only to realize that she forgot
to study for a test. Suddenly, a student next to her leans over and whispers that a student from another
period has given him the answers to the test. He offers to share them with her.
At this point in the plot, Janelle may decide to cheat or may decide not to cheat and to do the best she
can on the test.
Based on the information provided about Janelle's character traits, what would her motivation probably be for
each one of her two choices?
cheat because she wants to maintain her high grades
cheat because she sees nothing morally wrong with the decision
not cheat because she is worried that she will get caught
not cheat because it conflicts with her dedication to learning
Question 5:
Amy scanned the beach anxiously. What is taking them so long? she thought. About 75 yards out, she
could see the swimmer waving his arms at the lifeguards on shore. Amy's mind flashed back to water polo
practice and the water treading drill that Coach always made them do at the end of practice. Amy was one of
the strongest swimmers on the team, and she'd always dreaded that drill. That was difficult when we were
just tired; if this guy is really in distress, I'm not sure how much longer he's going to be able to keep his head
up, she thought. She took one more look down the beach. The nearest lifeguard was far down the sand,
reprimanding some kids for having boogie boards outside of the designated area.
Based on what this passage reveals about Amy, what are the two most likely actions that she will take?
ask another bystander what to do
continue to watch the swimmer and the lifeguard
attract the lifeguard's attention

assume that the lifeguard sees the swimmer
swim out to assist the swimmer

Lesson Topic: Analyze how plot affects characters
Question 1:
Read the passage.
In the short span of time that it took her to reach down into the bottom of the trunk, fish out the letter, and
peruse its contents, her entire life changed. Afterward, she wondered how the ivory-colored envelope had
inexplicably escaped her notice all this time. How different this time might have been had she only found it
under the books and papers littering the bottom of the trunk.
The letter read:
To our dearest daughter,
Calling you "dearest daughter" may seem strange to you since I'm sure by this time, you have no memory
of us, much less of us treasuring you. Our only hope is that this letter will help you understand how we
became separated—and will also help you understand that you are, and have always been, loved.
At this, Emma's eyes brimmed with tears and the handwriting on the paper swam before her. She paused
and wiped her face, but her mind did not slow down. Everything that she had ever thought to be true about
her history needed to be rethought. Could it be that she wasn't really abandoned by unfeeling parents?
How does Emma's discovery of the letter affect her?
She is overcome with guilt for hating her parents for abandoning her.
She remembers dim memories of her parents from when she was an infant.
She reflects on how the letter changes her understanding of her parents.
She becomes angry that what she believed about her past was incorrect.
Question 2:
The TV Buff
By Bathmaloshanee Muniandy
In the northwestern part of Alabama, surrounded by lush greenery, lies a small town known as Rainbow
Town. It consists of seven rows of houses arched around a semi-circular town center. The first row, which is
the nearest to the town's center, contains seven red houses. The second row has 14 orange houses, the third
row has 21 yellow houses, the fourth row has 28 green houses, the fifth row has 35 blue houses, the sixth row
has 42 indigo houses, and the seventh row, situated the farthest from the town's center, has 49 purple houses.
As you would guess, the colors of the houses represent the seven shades of the rainbow, and that’s exactly
how the town got its name.
This story is about a little boy named Leslie who lives in the seventh house on the seventh row, which is a
purple house. Leslie is a pleasant-looking ten-year-old with soft curly hair; a pair of big, round eyes that twinkle
each time he smiles; and a pointy nose that turns beetroot-red when he is angry. But that seldom happens
because Leslie is almost always in a jovial mood. After all, he almost always gets his way.
There are, however, two phrases that can turn Leslie’s nose beetroot-red instantly: “dinner time” and “brush
your teeth.” This is because these two phrases signal the only times he is forced to move from his favorite
spot: his bed. It’s a cozy queen-sized bed, which can be folded into a couch (though so far there has never
been an occasion which required the bed to be folded), layered with soft, warm quilts and piled with numerous
pillows in different sizes and colors. Leslie spends the entire day sprawled on the bed, his eyes glued to the
huge plasma-screen smart TV mounted on the wall of his bedroom.
Leslie’s grandparents can never understand why it’s called the “smart” TV. "I do not see anything smart
about a thing that makes people motionless and emotionless,” grunted Grandpa the day his son (Leslie’s
father) insisted on installing not one, but three smart TVs in their house.
With so much comfort available within the four walls of his bedroom, Leslie does not see the need to step
out of his room. As a matter of fact, the only reason Leslie budges from his bed voluntarily is to answer the call
of nature which, as you know, could result in something pretty embarrassing if ignored for too long. And
therefore, when the call comes knocking, Leslie reluctantly drags his feet—at a pace slower than that of a
tortoise—to the bathroom, which is located just a few steps away from his bed. As soon as he is done, Leslie
immediately returns to his favorite spot and resumes his three favorite activities: eating, sleeping, and watching
TV.
You see, Leslie is an only child. Since he did not have siblings to play with, he spent most of his early
childhood watching cartoons and creating make-believe friends out of the cartoon characters. Leslie, a
resourceful boy, was able to operate the TV independently by the time he was three years old. His parents
were initially impressed by their son’s inborn talent. After a while, however, their admiration turned to worry as
they realized their son was transforming into nothing more than an expert on laziness—a TV buff. Now, as for
the last several years, Leslie refuses to go on outings or partake in any activities that require him to spend time
away from the TV.
Leslie’s parents, Mr. and Mrs. Andrew, no longer invite other children to their home due to something that
happened when Leslie was four years old. Though Leslie has no recollection of it, he overheard his mom
telling his Uncle Bernard that the incident involved him banging the head of his first cousin, Ira (the daughter of
his mother’s only sister, Sharon), with a TV remote, which resulted in a bump as big as a ping-pong ball that
took nearly one year to subside.
“Well, serves her right for snatching my remote,” Leslie had whispered to himself after overhearing the
story. Therefore, to date, Leslie remains siblingless and friendless.
Mr. and Mrs. Andrew had tried (a little too late) to detach their only child from the idiot box (as Grandpa
calls it), but each time they attempted to either touch the TV remote or the TV, Leslie would resort to his secret
weapon to keep them at bay: a loud wail that could tear the eardrums of anyone within the vicinity and shatter
the glass panes of all the windows in their house. Hence, Mr. and Mrs. Andrew watch helplessly as their son
transforms into a completely motionless and emotionless TV buff.
All of his inactivity has caused Leslie to become very overweight, rendering him partially immobile. He can
still walk, but dragging his chubby legs requires much effort and a lot of time. That’s one of the reasons why
Mr. Andrew hired an at-home tutor rather than sending Leslie to school. Ms. Wilson comes to their house five
times a week from 9 A.M. to noon. While Leslie sprawls lazily on his bed, munching on chips and clicking the
remote, she sits on a small stool in his room, trying her best to teach him reading, writing, and other essential
fifth-grade wisdom. Occasionally she succeeds in distracting him by connecting the lessons to his favorite TV
shows. But at most, Ms. Wilson is able to divert his attention for five minutes before his eyes return to the TV
screen.
But, just as Mr. Andrew, Mrs. Andrew, and Ms. Wilson are about to give up on Leslie, something happens,
something that makes their hearts swell with happiness, something that makes their feet skip with joy, and
something that makes their lips curve into a never-ending smile: a blackout. Not just any blackout, but a nation-
wide blackout.
This means the entire country is devoid of electricity for an indefinite period of time. No one knows what
caused the blackout or when the electricity will be restored. Numerous frantic calls are made to the Rainbow
Town Electricity Board, but none are answered. There is hearsay that a meteor has fallen on one of the power
plants and that it might take a week before the electricity is completely restored.
This, of course, starts a wave of panic. People start digging into storage boxes and dusty attics, looking for
candles and other items that can be used to light up dark homes. It is a trying time for the residents of Rainbow
Town and people nationwide whose lives have become completely dependent on electricity.
But no one is more affected than poor Leslie. He looks at the TV, teary-eyed. He taps it once, kicks it twice,
but the screen remains blank.
“You will break that thing,” reprimands Mr. Andrew.
Leslie then resorts to his second favorite activity—sleeping. He sleeps on and on, waking up only at
intervals to eat food (usually canned) and use the bathroom. But a person, no matter how lazy, can only sleep
so long before their body rebels against another second of shut-eye. That’s exactly what happens to Leslie—
he grows tired of sleeping. Besides, without air conditioning, his house is getting warmer, especially under the
bright morning sun of an Alabama summer.
So, Leslie does the unexpected. Mr. and Mrs. Andrew's jaws nearly drop to the floor when they see their
son make his way down the spiral staircase that links the two levels of their house. They stare wide-eyed as he
walks towards the main entrance.
They hold their breath as he puts his hand on the purple door knob. And they nearly choke with tears when
he pushes the door open, puts his right foot out, and steps into the real world.
“Our son has finally emerged from his cocoon,” says Mrs. Andrew. Her words float dreamily from her lips as
if she is in a trance. Her husband just nods, too awestruck to utter a sound.
Outside their house, Leslie is greeted by the warm glare of the morning sun. At first, it is too much for him;
he cannot recall the last time he was exposed to direct sunlight. He blocks his face with both hands. His eyes
are teary from the brightness.
After wiping them with the long sleeves of his pajamas, he sees something that makes him take a few steps
forward: A green, lush landscape lies before him.
A gust of wind blows on his face, cooling him immediately. He inhales deeply, sensing something foreign.
He struggles to find the correct word to describe it. “The air feels so, so...” he stammers.
“Fresh?” a young girl in a floral gown is standing beside him. If he didn’t know better, he would have
mistaken her as part of the beautiful landscape. Her smiley lips resemble a pretty curvy rainbow (perhaps not
as colorful). Her long straight hair reminds him of the blades of grass that glisten around him now, touched by
the morning sun and swaying gently in the cool breeze. He reaches out his hand and touches the girl’s
shoulder. Yes, she is real. Everything seems so natural, unlike the images projected on the huge screen in his
room.
“What’s your name?” the girl’s moving lips produce the loveliest sound he has ever heard.
“I am—I am—,” he stammers again. He is not used to talking to people. It's been so long since he’s been to
school, and he rarely speaks to Ms. Wilson or his parents. But suddenly he wants to talk to this pretty girl in
front of him, who smiles incessantly.
“I am Leslie.” Finally he recalls his name.
“Hi, Leslie, I'm Melissa,” her slender pinkish hand is outstretched toward him. He stares at it for a few
seconds before he realizes he is supposed to shake it. He does so, awkwardly.
“Do you live here? I've never seen you before!” asks Melissa.
Leslie blinks. “Yes, I live there—the purple house, number seven," he replies, pointing to his house. "But I
rarely come out.”
“Oh! What a pity we did not meet earlier. We moved to this neighborhood eight months ago, and I have
almost no friends to play with.” As Melissa chats on, Leslie feels something tickle his arm. He turns to see an
explosion of color in the shape of small, fluttering wings.
“What a beautiful butterfly!” exclaims Melissa, pointing to his arm.
“Is that what it is? A butterfly?” asks Leslie, peering into the two dark circles shaped like eyeballs.
“Of course, silly! Don’t tell me you have never seen a butterfly before!” Melissa says with a grin.
Leslie does not answer. He has seen butterflies before, but not real ones, just the ones projected on the TV
screen. But he cannot possibly tell this to his new friend, who seems to know so much about nature. She may
laugh at him. As he wades through this flood of new information, he hears a voice.
“Melissa! Melissa!” a woman is walking toward them, pushing a baby carriage. “Come on, Melissa!”
“I'm coming, Mom,” answers Melissa as she runs toward her mother. Leslie watches as they walk to the end
of the purple row of houses, turn the corner and disappear from his sight.
“But wait!” shouts Leslie, a bit too late. No one could hear him now.
With head hung low, Leslie turns and walks back to his house. His parents are on the sofa in the living
room, waiting for him. The room is brightly lit by the sunlight pouring through the windows.
“Leslie, we just heard very good news," says Mr. Andrew, but his reluctant tone suggests otherwise. “I just
got a call from the Electricity Board. The electricity will be restored tomorrow morning.”
With bated breath, Leslie's family waits for his reaction.
“Oh,” mumbles Leslie as he climbs the spiral staircase leading to his bedroom.
His mother's shoulders, which had been raised in hopeful expectation, drop as her son re-enters the site of
his voluntary confinement. “Honey! Are you okay?”
Leslie hears his mother’s concerned voice but does not reply. Once inside his room, he flings open the only
window. The row of indigo houses greets him. Just as he is about to close the window, another butterfly, blue
with purple dots this time, flies in and sits on the windowsill. Soon, three more butterflies join it. As he watches
them, he hears a strange sound: too-woot-too! An owl peeps at him from its hiding spot behind the flourishing
green branches of the tree. Leslie sees that they are full of apples.
Just then, Leslie's mother and father enter his room, eyes wide with concern. "Leslie," Mr. Andrew begins, "I
know you're upset that you'll have to wait all night for the power. We're trying our best to..." he stops, staring at
the image of his son and a window that had been opened for the first time.
Leslie turns casually to his parents, a crooked smile on his face. “I didn’t know there was an apple tree
here,” he muses, reaching out to pluck the juicy red fruit from the tree. He munches it happily as he points to
the tree. "And an owl!"
Mr. Andrew is frozen, mouth agape in wonder, resembling the statue in the town square fountain. Mrs.
Andrew runs to her son, hugging him and crying joyful tears.
The following morning, just as Mr. Andrew said, the electricity is restored. Leslie can hear the whirring of the
blender in the kitchen, the twirling of the washing machine in the laundry room, and the blasting of the stereo in
the hall. Leslie is annoyed, for the sound of the household appliances has drowned out the sound of nature.
He opens the window and sighs deeply, remembering something Grandpa said one day as Leslie watched
a nature documentary on television. “To know nature, you have to be with it. You can’t learn it from just staring
at the TV screen.” Leslie ignored him at the time, but today he decides to listen.
To his parents’ delight, he spends the entire day outside enjoying nature and basking in the warm sun. He
explores the streets of Rainbow Town, and as he reaches the first house in the first row, his heart jumps.
Melissa is playing with a small baby in the front yard. She looks up at him and smiles.
***
Today,
a recent Rainbow Town Elementary yearbook shows a lean and healthy boy by the name of Leslie Andrew,
who closely resembles the pudgy boy from our story. Rumor has it that they are one and the same, and that
our hero enrolled in school the September following the blackout. The rumor mills go on to report that, thanks
to many walks to and from school and Melissa’s house, as well as hours of softball, karate, and of course,
nature hikes, he is now a healthy, happy boy with little need for friends who live in a TV screen. The world
around him is bigger, clearer, and smarter than anything he knew before. Leslie's life has switched on.
Question 3:
Johanna left home with a small purse full of money and a head full of dreams of adventure and endless
possibilities. After a few months away, both containers were much emptier. She wondered how she could
have been so naïve about the ways of the world.
What plot events could cause these changes in Johanna and her situation?
having difficulty reaching a desired destination
meeting kind and generous strangers
getting swept up in a spontaneous adventure
having her money stolen
encountering deceptive people
Question 4:
Read the summary.
Victor and his family run a small hardware store that's been in the family for several generations. When a
large corporate store that sells hardware as well as groceries, clothing, and many other kinds of items opens
nearby, Victor begins to lose business. He must decide whether to close the store or try to keep bringing in
enough customers to stay open. Eventually, he decides that the store is no longer profitable enough to keep,
and he sadly closes it, discouraged by the dwindling place for small business owners in comparison to the
spread of big businesses.
If Victor decided to keep the store open instead of closing, what would have to happen for him to feel
encouraged and positive about that decision?
increased loss of customers
increased competition from the new store
increased support from the community

increased advertising expenses to gain customers
Question 5:
Read the story and answer the questions that follow.
Adapted from
Rip Van Winkle
By Washington Irving
Whoever has made a voyage up the Hudson must remember the Kaatskill mountains. They are seen away
to the west of the river, swelling up to a noble height. Every change of season, every change of weather,
indeed, every hour of the day, produces some change in the magical hues and shapes of these mountains.
At the foot of these fairy mountains, the voyager may have descried the light smoke curling up from a
village whose shingle-roofs gleam among the trees. It is a little village of great antiquity, having been founded
by some of the Dutch colonists.
In that same village, and in one of these very houses, there lived many years since, while the country was
yet a province of Great Britain, a simple good-natured fellow of the name of Rip Van Winkle. I have observed
that he was a simple good-natured man; he was, moreover, a kind neighbor, and an obedient hen-pecked
husband.
Certain it is, that he was a great favorite among all the good wives of the village, who took his part in all
family squabbles; and never failed, whenever they talked those matters over in their evening gossipings, to lay
all the blame on Dame Van Winkle. The children of the village, too, would shout with joy whenever he
approached. He assisted at their sports, made their playthings, taught them to fly kites and shoot marbles, and
told them long stories. Whenever he went dodging about the village, he was surrounded by a troop of them,
and not a dog would bark at him throughout the neighborhood.
The great error in Rip's composition was an insuperable aversion to all kinds of profitable labor. He would
never refuse to assist a neighbor even in the roughest toil, and the women of the village, too, used to employ
him to run their errands, and to do such little odd jobs as their less obliging husbands would not do for them. In
a word, Rip was ready to attend to anybody's business but his own; but as to doing family duty, and keeping
his farm in order, he found it impossible.
In fact, he declared it was of no use to work on his farm; it was the most pestilent little piece of ground in the
whole country; everything about it went wrong, and would go wrong, in spite of him. His fences were continually
falling to pieces; his cow would either go astray or get among the cabbages; weeds were sure to grow quicker
in his fields than anywhere else; the rain always made a point of setting in just as he had some out-door work
to do, so that his patrimonial estate had dwindled away under his management, acre by acre.
His children, too, were as ragged and wild as if they belonged to nobody. His son Rip promised to inherit the
habits and old clothes of his father.
Rip Van Winkle, however, was one of those happy mortals, of foolish, well-oiled dispositions, who take the
world easy, eat white bread or brown, whichever can be got with least thought or trouble, and would rather
starve on a penny than work for a pound. If left to himself, he would have whistled life away in perfect
contentment; but his wife kept continually dinning in his ears about the ruin he was bringing on his family.
Morning, noon, and night, her tongue was incessantly going.
Rip's sole ally was his dog Wolf, who was as much hen-pecked as his master; for Dame Van Winkle
regarded them as companions in idleness. The moment Wolf entered the house his crest fell, his tail drooped
to the ground, or curled between his legs, he sneaked about, casting many a sidelong glance at Dame Van
Winkle, and at the least flourish of a broom-stick or ladle, he would fly to the door, yelping.
Times grew worse and worse with Rip Van Winkle as years of matrimony rolled on. For a long while he
used to console himself by frequenting a kind of perpetual club of the sages, philosophers, and other idle
personages of the village; which held its sessions on a bench before a small inn. Here they used to sit in the
shade through a long lazy summer's day, talking listlessly over village gossip, or telling endless sleepy stories
about nothing.
Bu at last, Poor Rip was reduced almost to despair; and his only alternative, to escape from the labor of the
farm and clamor of his wife, was to take gun in hand and stroll away into the woods. Here he would sometimes
seat himself at the foot of a tree, and share the contents of his lunch with Wolf, with whom he sympathized as a
fellow-sufferer in persecution. "Poor Wolf," he would say, "never mind, my lad, whilst I live thou shalt never
want a friend to stand by thee!" Wolf would wag his tail and look wistfully in his master's face.
In a long ramble of the kind on a fine autumnal day, Rip had unconsciously scrambled to one of the highest
parts of the Kaatskill mountains. Panting and fatigued, he threw himself on a green knoll. He saw at a distance
the lordly Hudson, far, far below him, moving on its silent but majestic course.
For some time Rip lay musing on this scene; evening was gradually advancing; the mountains began to
throw their long blue shadows over the valleys; he saw that it would be dark long before he could reach the
village, and he heaved a heavy sigh when he thought of encountering the terrors of Dame Van Winkle.
As he was about to descend, he heard a voice from a distance, hallooing, "Rip Van Winkle! Rip Van Winkle!"
He looked round, but could see nothing. He thought his fancy must have deceived him, and turned again to
descend, when he heard the same cry ring through the still evening air: "Rip Van Winkle! Rip Van Winkle!"—at
the same time Wolf bristled up his back, and giving a low growl, skulked to his master's side, looking fearfully
down into the glen. Rip now felt a vague apprehension stealing over him; he looked anxiously in the same
direction, and perceived a strange figure slowly toiling up the rocks, and bending under the weight of
something he carried on his back. He was surprised to see any human being in this lonely and unfrequented
place, but supposing it to be someone of the neighborhood in need of his assistance, he hastened down to
give it.
On nearer approach he was still more surprised at the singularity of the stranger's appearance. His dress
was of the antique Dutch fashion, decorated with rows of buttons down the sides and bunches at the knees. He
made signs for Rip to approach and assist him with the load. Though rather shy and distrustful of this new
acquaintance, Rip complied, and they clambered up a narrow gully. As they ascended, Rip every now and then
heard long rolling peals, like distant thunder, that seemed to issue out of a deep ravine toward which their
rugged path conducted. Passing through the ravine, they came to a hollow surrounded by perpendicular cliffs
that created an amphitheatre. During the whole time Rip and his companion had labored on in silence.
On entering the amphitheatre, new objects of wonder presented themselves. On a level spot in the centre
was a company of odd-looking personages playing at nine-pins. They were dressed in a quaint outlandish
fashion, of similar style with that of the guide's, and they all had beards, of various shapes and colors.
What seemed particularly odd to Rip was, that though these folks were evidently amusing themselves, they
maintained the gravest faces and the most mysterious silence that he had ever witnessed. Nothing interrupted
the stillness of the scene but the noise of the balls, which, whenever they were rolled, echoed along the
mountains like rumbling peals of thunder.
As Rip and his companion approached them, they suddenly stared at him with such fixed statue-like gazes
that his heart turned within him, and his knees trembled. His companion now made signs to Rip to wait upon
the company. He obeyed with fear; they ate and drank in profound silence, and then returned to their game.
By degrees Rip's awe and apprehension subsided. He even ventured, when no eye was fixed upon him, to
taste the beverage in his companion's keg. One taste provoked another, and soon his eyes swam in his head,
his head gradually declined, and he fell into a deep sleep.
On waking, he found himself on the green knoll whence he had first seen the old man of the glen. He
rubbed his eyes—it was a bright sunny morning, and the birds were hopping and twittering among the bushes.
"Surely," thought Rip, "I have not slept here all night." He recalled the occurrences before he fell asleep. "Oh!"
thought Rip—"what excuse shall I make to Dame Van Winkle!"
He looked round for his gun, but in place of the clean well-oiled fowling-piece, he found an old firelock lying
by him, the barrel encrusted with rust, the lock falling off, and the stock worm-eaten. He now suspected that
the grave inhabitants of the mountain had put a trick upon him, and had robbed him of his gun. Wolf, too, had
disappeared, but he might have strayed away after a squirrel or partridge. He whistled after him and shouted
his name, but all in vain; the echoes repeated his whistle and shout, but no dog was to be seen.
He determined to revisit the scene of the last evening, and if he met with any of the party, to demand his
dog and gun. As he rose to walk, he found himself stiff in the joints. "These mountain beds do not agree with
me," thought Rip. With some difficulty he got down into the glen: he found the gully up which he and his
companion had ascended the preceding evening; but to his astonishment a mountain stream was now foaming
down it. He, however, made shift to scramble up its sides, working his toilsome way through thickets, and was
sometimes entangled by the wild grapevines that twisted their coils or tendrils from tree to tree, and spread a
kind of net in his path.
At length he reached where the ravine had opened through the cliffs to the amphitheatre; but no traces of
such opening remained. The rocks presented a high impenetrable wall. Here, then, poor Rip was brought to a
stand. What was to be done? The morning was passing away, and Rip felt famished for want of his breakfast.
He grieved to give up his dog and gun; he dreaded to meet his wife; but it would not do to starve among the
mountains. He shook his head, shouldered the rusty firelock, and, with a heart full of trouble and anxiety,
turned his steps homeward.
As he approached the village he met a number of people, but none whom he knew. Their dress, too, was of
a different fashion from that to which he was accustomed. They all stared at him with equal marks of surprise,
and whenever they cast their eyes upon him, invariably stroked their chins. The constant recurrence of this
gesture induced Rip, involuntarily, to do the same, when, to his astonishment, he found his beard had grown a
foot long!
He had now entered the skirts of the village. A troop of strange children ran at his heels, hooting after him,
and pointing at his gray beard. The dogs, too, not one of which he recognized for an old acquaintance, barked
at him as he passed. The very village was altered; it was larger and more populous. There were rows of
houses which he had never seen before, and those which had been his familiar haunts had disappeared.
Strange names were over the doors—strange faces at the windows—everything was strange. He began to
doubt whether both he and the world around him were not bewitched. Surely this was his native village, which
he had left but the day before!
It was with some difficulty that he found the way to his own house, which he approached with silent awe,
expecting every moment to hear the shrill voice of Dame Van Winkle. He found the house gone to decay—the
roof fallen in, the windows shattered, and the doors off the hinges. A half-starved dog that looked like Wolf was
skulking about it. Rip called him by name, but the cur snarled, showed his teeth, and passed on. This was an
unkind cut indeed—"My very dog," sighed poor Rip, "has forgotten me!"
He entered the house, which, to tell the truth, Dame Van Winkle had always kept in neat order. It was
empty, forlorn, and apparently abandoned. This desolateness overcame all his fears—he called loudly for his
wife and children—the lonely chambers rang for a moment with his voice, and then all again was silence.
He now hurried forth, and hastened to his old resort, the village inn—but it too was gone. A large rickety
wooden building stood in its place. Instead of the great tree that used to shelter the quiet little Dutch inn of
yore, there now was reared a tall naked pole, and from it was fluttering a flag, on which was a singular
assemblage of stars and stripes.
There was, as usual, a crowd of folk about the door, but none that Rip recollected. The very character of
the people seemed changed. There was a busy, bustling tone about them, instead of the accustomed drowsy
tranquility. He looked in vain for his old acquaintances. In place of these, a fellow with his pockets full of
handbills was haranguing vehemently about rights of citizens—elections—members of congress—liberty—and
other words, which were a perfect nonsense to the bewildered Van Winkle.
The appearance of Rip soon attracted the attention of the tavern politicians. They crowded round him, eying
him from head to foot with great curiosity. The orator bustled up to him, and, drawing him partly aside, inquired
"on which side he voted?" Rip stared in vacant stupidity. Rip was at a loss to comprehend the question; when a
knowing, self-important old gentleman, in a sharp cocked hat, made his way through the crowd, planted
himself before Van Winkle, and demanded in an austere tone, "what brought him to the election with a gun on
his shoulder, and a mob at his heels, and whether he meant to breed a riot in the village?"
"Alas! gentlemen," cried Rip, somewhat dismayed, "I am a poor quiet man, a native of the place, and a loyal
subject of the king!"
Here a general shout burst from the by-standers—"A tory! A tory! A spy! A refugee! Hustle him! Away with
him!" It was with great difficulty that the man in the cocked hat restored order; and demanded again of the
unknown culprit, what he came there for, and whom he was seeking? The poor man humbly assured him that
he meant no harm, but merely came there in search of some of his neighbors, who used to keep about the
tavern.
"Well—who are they?—name them."
Rip bethought himself a moment, and inquired, "Where's Nicholas Vedder?"
There was a silence for a little while, when an old man replied, in a thin piping voice, "Nicholas Vedder!
Why, he is dead and gone these eighteen years! There was a wooden tombstone in the church-yard that used
to tell all about him, but that's rotten and gone too."
"Where's Brom Dutcher?"
"Oh, he went off to the army in the beginning of the war; some say he was killed at the storming of Stony
Point. I don't know—he never came back again."
"Where's Van Bummel, the schoolmaster?"
"He went off to the wars too, was a great militia general, and is now in congress."
Rip's heart died away at hearing of these sad changes in his home and friends, and finding himself thus
alone in the world. Every answer puzzled him, too, by implying such enormous lapses of time, and of matters
which he could not understand: war—congress—Stony Point;—he had no courage to ask after any more
friends, but cried out in despair, "Does nobody here know Rip Van Winkle?"
"Oh, Rip Van Winkle!" exclaimed two or three. "Oh, to be sure! that's Rip Van Winkle yonder, leaning
against the tree."
Rip looked, and beheld a precise replica of himself as he had looked when he went up the mountain;
apparently as lazy, and certainly as ragged. The poor fellow was now completely confounded. He doubted his
own identity. In the midst of his bewilderment, the man in the cocked hat demanded who he was, and what was
his name?
"God knows," exclaimed he, at his wit's end; "I'm not myself—I'm somebody else—that's me yonder—no—
that's somebody else got into my shoes—I was myself last night, but I fell asleep on the mountain, and they've
changed my gun, and everything's changed, and I can't tell what's my name, or who I am!"
The bystanders began now to look at each other, nod, wink significantly, and tap their fingers against their
foreheads. There was a whisper, also, about securing the gun, and keeping the old fellow from doing mischief.
At this critical moment a young woman pressed through the throng to get a peep at the gray-bearded man.
She had a chubby child in her arms, which, frightened at his looks, began to cry. "Hush, Rip," cried she, "hush,
you little fool; the old man won't hurt you." The name of the child, the air of the mother, the tone of her voice,
all awakened a train of recollections in his mind.
"What is your name, my good woman?" asked he.
"Judith Gardenier."
"And your father's name?"
"Ah, poor man, Rip Van Winkle was his name, but it's twenty years since he went away from home with his
gun, and never has been heard of since—his dog came home without him. I was then but a little girl."
Rip had but one question more to ask; but he put it with a faltering voice:
"Where's your mother?"
"Oh, she too died but a short time since; she broke a blood-vessel in a fit of rage at a New-England
peddler."
There was a drop of comfort, at least, in this intelligence. The honest man could contain himself no longer.
He caught his daughter and her child in his arms. "I am your father!" cried he—"Young Rip Van Winkle once—
old Rip Van Winkle now!—Does nobody know poor Rip Van Winkle?"
All stood amazed, until an old woman, tottering out from among the crowd, put her hand to her brow, and
peering under it in his face for a moment, exclaimed, "Sure enough! it is Rip Van Winkle—it is himself!
Welcome home, again, old neighbor—Why, where have you been these twenty long years?"
Rip's story was soon told, for the whole twenty years had been to him but as one night. The neighbors
stared when they heard it; some were seen to wink at each other, and put their tongues in their cheeks.
It was determined, however, to take the opinion of old Peter Vanderdonk, who was a descendant of the
historian of that name, who wrote one of the earliest accounts of the province. Peter was the most ancient
inhabitant of the village, and well versed in all the wonderful events and traditions of the neighborhood. He
recollected Rip at once, and corroborated his story in the most satisfactory manner. He assured the company
that it was a fact, handed down from his ancestor the historian, that the Kaatskill mountains had always been
haunted by strange beings. That it was affirmed that the great Hendrick Hudson, the first discoverer of the river
and country, kept a kind of vigil there every twenty years with his crew; being permitted in this way to keep a
guardian eye upon the river. That his father had once seen them in their old Dutch dresses playing at nine-pins
in a hollow of the mountain; and that he himself had heard, one summer afternoon, the sound of their balls, like
distant peals of thunder.
To make a long story short, the company broke up, and returned to the more important concerns of the
election. Rip's daughter took him home to live with her; she had a snug, well-furnished house, and a stout
cheery farmer for a husband, whom Rip recollected as one of the urchins that used to climb upon his back. As
to Rip's son and heir, who was the ditto of himself, seen leaning against the tree, he was employed to work on
the farm; but evinced an hereditary disposition to attend to anything else but his business.
Rip now resumed his old walks and habits. Having nothing to do at home, and being arrived at that happy
age when a man can be idle with impunity, he took his place once more on the bench at the inn door. It was
some time before he could get into the regular track of gossip, or could be made to comprehend the strange
events that had taken place during his sleep. How that there had been a revolutionary war, and that instead of
being a subject of his Majesty George the Third, he was now a free citizen of the United States. Rip, in fact,
was no politician, but he was pleased that he could go in and out whenever he wished, without dreading the
tyranny of Dame Van Winkle.
He used to tell his story to every stranger that arrived at the hotel. At last, there was not a man, woman, or
child in the neighborhood, but knew it by heart. Some always pretended to doubt the reality of it, and insisted
that Rip had been out of his head. The old Dutch inhabitants, however, almost universally gave it full credit.
Even to this day they never hear a thunderstorm of a summer afternoon about the Kaatskill, but they say
Hendrick Hudson and his crew are at their game of nine-pins; and it is a common wish of all hen-pecked
husbands in the neighborhood, when life hangs heavy on their hands, that they might have a quieting drink out
of Rip Van Winkle's flagon.
Lesson Topic: Analyze how characters and plot affect theme
Question 1:
Read the summary.
In Barbara Kingsolver's novel The Poisonwood Bible, the plot follows a family of American missionaries as
they travel to the African Congo to live in a small village. The narration alternates between the perspectives
of each of the four daughters in the family, as well as that of their mother. As a whole, the family arrives in
the Congo with modern conveniences like cake mix, nice clothing, and a hand mirror, but they soon discover
that goods that were considered prized items in the United States are useless in the jungle. They also
struggle to connect with the local culture, experiencing many instances of miscommunication and confusion.
Orleanna, the mother, closes the novel with her reflection on how the time in Africa tore the family apart and
shaped each of its members in new ways.
Based on the development of plot and character, which of the following is most likely a theme of the text?
Valuable possessions lose their worth if they are not used properly.
Cultures should keep to themselves in order to avoid confusion and offense.
International family travel is always nearly impossible to manage successfully.
Assumptions and preconceptions can inhibit communication and understanding.
Question 2:
Which of the plot summaries best illustrates the theme that Patience yields better results than impatience?
Summary 1
Both a Great Blue Heron, a wading bird, and a Labrador Retriever, a dog, are trying to catch fish in a lake.
The Heron moves slowly through the water, making sure that she walks with the sun ahead of her so that her
shadow does not frighten the fish away. She waits for her moment and then plunges her beak into the water,
bringing it up with a fish. The Dog sits on the bank for a moment and then lunges face first into the water
when he sees a fish dart by, muddying the water and scaring the fish away.
Summary 2
Two field mice met in the corn field and greeted one another. The first mouse asked the second mouse,
"Why are you in such a hurry?" The second mouse answered, "Winter is coming and I must build my house
and gather food." The first mouse scoffed and said, "Winter! Why it is only August. Look around you, there is
an abundance of corn! You don't need to do any work today." The second mouse replied, "It is better for me
to prepare now. You'd be wise to do the same." The first mouse laughed and scurried away.
Several months later, as the first heavy frost coated the field, the second mouse peered out of his warm
nest and saw the first mouse scrambling frantically to gather materials for his house.
Summary 3
A Duckling became separated from her family and was adopted by a Pig in the barnyard. The Duckling
followed the Pig and her piglets everywhere and was very happy. Soon, though, her feathers came in, she
became much larger, and she realizes that she wanted to begin going on adventures of her own. One day,
she decided to go for a walk in the forest. She wandered down a winding path for awhile and then decides
that it is time to return home. When she reached a narrow part of the path that was surrounded by steep
rocks on either side, she saw that a large boulder has blocked her path. What am I going to do? she thought
helplessly, and sat down to think.
Soon, a Robin flew down to the top of the boulder to ask what the Duck was doing. "Can't you see that the
boulder is blocking my path?" the Duck asked mournfully. "What do you think that your wings are for?" asked
the Robin, and he flew away.
Summary 1
Summary 2
Summary 3
Question 3:
Read the summary.
A novel follows the story of a president who begins his term in office by selecting his cabinet of advisers
and outlining the legislation that he hopes to pass. As time goes on and he encounters resistance in
Congress, he grows increasingly frustrated and relies more and more on the direction of those around him.
He eventually realizes that many of his cabinet members have been conspiring behind his back to serve their
own interests. He asks for the resignations of several of these officials and resolves to take a more active
role in his presidency.
Based on the development of plot and character, which of the following is most likely a theme of the text?
Serving in a public office is an honorable, but stressful, position to take on.
Government corruption is more prevalent than anyone realizes.

Goals are more easily achievable when you work alone.
In order to avoid being misled, you must be mindful of your surroundings.
Question 4:
Read the excerpt and answer the questions that follow.
An Excerpt Adapted from

The Tragedy of Pudd'nhead Wilson
by Mark Twain
The scene of this chronicle is the town of Dawson's Landing, on the Missouri side of the Mississippi, half a
day's journey, per steamboat, below St. Louis.
In 1830 it was a snug collection of modest one- and two-story frame dwellings, whose whitewashed
exteriors were almost concealed from sight by climbing tangles of rose vines, honeysuckles, and morning
glories. Each of these pretty homes had a garden in front fenced with white palings and opulently stocked with
hollyhocks, marigolds, touch-me-nots, prince's-feathers, and other old-fashioned flowers; while on the
windowsills of the houses stood wooden boxes containing moss rose plants and terra-cotta pots in which grew
a breed of geranium whose spread of intensely red blossoms accented the prevailing pink tint of the rose-clad
house-front like an explosion of flame. When there was room on the ledge outside of the pots and boxes for a
cat, the cat was there—in sunny weather—stretched at full length, asleep and blissful, with her furry belly to the
sun and a paw curved over her nose.
All along the streets, on both sides, at the outer edge of the brick sidewalks, stood locust trees with trunks
protected by wooden boxing, and these furnished shade for summer and a sweet fragrance in spring, when
the clusters of buds came forth. The main street, one block back from the river, and running parallel with it,
was the sole business street. It was six blocks long, and in each block two or three brick stores, three stories
high, towered above interjected bunches of little frame shops. Swinging signs creaked in the wind the street's
whole length.
The hamlet's front was washed by the clear waters of the great river; its body stretched itself rearward up a
gentle incline; its most rearward border fringed itself out and scattered its houses about its base line of the hills;
the hills rose high, enclosing the town in a half-moon curve, clothed with forests from foot to summit.
Steamboats passed up and down every hour or so. Those belonging to the little Cairo line and the little
Memphis line always stopped; the big Orleans liners stopped for hails only, or to land passengers or freight
In February of 1830, Dawson's Landing gained a new citizen. This was Mr. David Wilson, a young fellow of
Scotch parentage. He had wandered to this remote region from his birthplace in the interior of the State of New
York, to seek his fortune. He was twenty-five years old, college bred, and had finished a post-college course in
an Eastern law school a couple of years before.
He was a homely, freckled, sandy-haired young fellow, with an intelligent blue eye that had frankness and
comradeship in it and a covert twinkle of a pleasant sort. But for an unfortunate remark of his, he would no
doubt have entered at once upon a successful career at Dawson's Landing. But he made his fatal remark the
first day he spent in the village, and it "gaged" him. He had just made the acquaintance of a group of citizens
when an invisible dog began to yelp and snarl and howl and make himself very comprehensively disagreeable,
whereupon young Wilson said, much as one who is thinking aloud:
"I wish I owned half of that dog."
"Why?" somebody asked.
"Because I would kill my half."
The group searched his face with curiosity, with anxiety even, but found no light there, no expression that
they could read. They fell away from him as from something uncanny, and went into privacy to discuss him.
One said:
"'Pears to be a fool."
"'Pears?" said another. "Is, I reckon you better say."
"Said he wished he owned half of the dog, the idiot," said a third. "What did he reckon would become of the
other half if he killed his half? Do you reckon he thought it would live?"
"Why, he must have thought it, unless he IS the downrightest fool in the world; because if he hadn't thought
it, he would have wanted to own the whole dog, knowing that if he killed his half and the other half died, he
would be responsible for that half just the same as if he had killed that half instead of his own. Don't it look that
way to you, gents?"
"Yes, it does. If he owned one half of the general dog, it would be so; if he owned one end of the dog and
another person owned the other end, it would be so, just the same; particularly in the first case, because if you
kill one half of a general dog, there ain't any man that can tell whose half it was; but if he owned one end of the
dog, maybe he could kill his end of it and—"
"No, he couldn't either; he couldn't and not be responsible if the other end died, which it would. In my
opinion that man ain't in his right mind."
"In my opinion he hain't got any mind."
No. 3 said: "Well, he's a lummox, anyway."
"That's what he is;" said No. 4. "He's a lummox, if there ever was one."
"Yes, sir, he's a fool. That's the way I put him up," said No. 5. "Anybody can think different that wants to, but
those are my sentiments."
"I'm with you, gentlemen," said No. 6. "Yes, and it ain't going too far to say he is a pudd'nhead. If he ain't a
pudd'nhead, I ain't no judge, that's all."
Mr. Wilson stood elected. The incident was told all over the town, and gravely discussed by everybody.
Within a week he had lost his first name; Pudd'nhead took its place. In time he came to be liked, and well liked
too; but by that time the nickname had got well stuck on, and it stayed. That first day's verdict made him a fool,
and he was not able to get it set aside, or even modified. The nickname soon ceased to carry any harsh or
unfriendly feeling with it, but it held its place, and was to continue to hold its place for twenty long years.
Question 5:
What is the obstacle that David Wilson tries to overcome and that contributes to the theme?
the limitations of small town life
a lack of intelligence
a negative first impression
unfriendly townspeople
Lesson Topic: Analyze setting as a shaping force
Question 1:
Read the excerpt.
"I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice.
"I'm very glad to see you. I was beginning to be afraid you weren't coming for me and I was imagining all the
things that might have happened to prevent you. I had made up my mind that if you didn't come for me
tonight I'd go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I
wouldn't be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the
moonshine, don't you think? You could imagine you were dwelling in marble halls, couldn't you? And I was
quite sure you would come for me in the morning, if you didn't tonight."
Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He
could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let
Marilla do that. She couldn't be left at Bright River anyhow, no matter what mistake had been made, so all
questions and explanations might as well be deferred until he was safely back at Green Gables.
"I'm sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag."
"Oh, I can carry it," the child responded cheerfully. "It isn't heavy. I've got all my worldly goods in it, but it
isn't heavy. And if it isn't carried in just a certain way the handle pulls out—so I'd better keep it because I
know the exact knack of it. It's an extremely old carpet-bag. Oh, I'm very glad you've come, even if it would
have been nice to sleep in a wild cherry-tree. We've got to drive a long piece, haven't we? Mrs. Spencer said
it was eight miles. I'm glad because I love driving. Oh, it seems so wonderful that I'm going to live with you
and belong to you. I've never belonged to anybody—not really. But the orphanage was the worst. I've only
been in it four months, but that was enough. I don't suppose you ever were an orphan in an orphanage, so
you can't possibly understand what it is like. It's worse than anything you could imagine. Mrs. Spencer said it
was wicked of me to talk like that, but I didn't mean to be wicked. It's so easy to be wicked without knowing it,
isn't it? They were good, you know—the orphanage people. But there is so little scope for the imagination in
an orphanage—only just in the other orphans. It was pretty interesting to imagine things about them—to
imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been
stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie
awake at nights and imagine things like that, because I didn't have time in the day. I guess that's why I'm so
thin—I AM dreadful thin, ain't I? There isn't a pick on my bones. I do love to imagine I'm nice and plump, with
dimples in my elbows."
-From Anne of Green Gables by L.M. Montgomery
Based on the passage, how has the setting of the orphanage shaped Anne?
It has forced her to use her imagination whenever she can.
It has made her very nervous and fearful that good things will never happen to her.
It has made her mistrustful of people, especially of the people who work in the orphanage.
It has helped her develop an appreciation for the beauty of the world outside the
orphanage.
It has developed her physical strength so that she is able to carry heavy things.
Question 2:
In which ways does setting shape a text?
by influencing the action that is likely to occur
by influencing the types and backgrounds of characters found there
by influencing the mood
all of the above
Question 3:
The single remaining space station had been orbiting the devastated Earth for almost sixty years. Most of
the people on board had been born on board. Their knowledge of Earth was limited to the stories they'd
heard from the older generations. Things like swimming in a pool, eating produce grown in a field, and using
public transportation were abstract ideas that they could only imagine on an intellectual level.
Based on the setting in this passage, which of the following concepts would the people living there probably
have the most difficulty understanding?
international politics
family dynamics
mathematics and physics
the structure of the solar system
Question 4:
Which setting would be best suited to a plot that examines the tense racial relations between African
Americans and whites just prior to and during the Civil Rights Movement in the United States?
a large urban city in England that purchases goods from American factories
a rural village in Africa that had been a major port in the slave trade
a rural town in the American South where different racial groups are expected to keep
separate and violence often results when they do not
a large urban city in the American North where different racial groups perform some tasks
together in industrial jobs
Question 5:
An author knows that she wants the story she is writing to explore the theme that War has long-lasting
consequences for those that experience it. Which of the following settings would best allow her to develop this
theme?
a military campsite
a battlefield
a small town before the outbreak of war
a counseling center for returning soldiers

Lesson Topic: Analyze how shifts in setting affect plot and character
Question 1:
Read the passage.
When the time for his examination drew near, Malcolm Malcolmson made up his mind to leave the bustle
of town and go somewhere to read by himself. He feared the attractions of the seaside, and also he feared
complete rural isolation, so he determined to find some unpretentious little town where there would be
nothing to distract him. As Malcolmson wished to avoid friends, he had no wish to encumber himself with the
attention of friends' friends, and so he determined to look out for a place for himself. He packed a
portmanteau with some clothes and all the books he required, and then took a ticket for the first name that
he did not know on the local timetable.
When at the end of a three hour journey, he alighted at Benchurch, he felt satisfied that he had so far
obliterated his tracks as to be sure of having a peaceful opportunity of pursuing his studies. He went straight
to the one inn that the sleepy little place contained, and put up for the night.
Malcolmson looked around the day after his arrival to try to find even more isolated quarters. There was
only one place which took his fancy. It certainly satisfied his wildest ideas regarding quiet; in fact, quiet was
not the proper word to apply to it—desolation was the only term conveying any suitable idea of its isolation. It
was an old rambling, heavy-built house of the Jacobean style, with heavy gables and windows, unusually
small, and set higher than was customary in such houses, and was surrounded with a high brick wall
massively built. Indeed, on examination, it looked more like a fortification than an ordinary dwelling. But all
these things pleased Malcolmson. "Here," he thought, "is the very spot I have been looking for, and if I can
get opportunity of using it I shall be happy." His joy was increased when he realized beyond doubt that it was
not at present inhabited.
From the post-office he got the name of Mr. Carnford, the local lawyer and agent, who frankly confessed
his delight at anyone being willing to live in the house.
"To tell you the truth," said he, "I should be only too happy, on behalf of the owners, to let anyone have
the house rent free for a term of years if only to accustom the people here to see it inhabited. It has been so
long empty that some kind of absurd prejudice has grown up about it, and this can be best put down by its
occupation."
Malcolmson thought it needless to ask the agent about the "absurd prejudice"; he knew he would get
more information on that subject, if he should require it, from other quarters. He paid his three months' rent,
got a receipt, and came away with the keys in his pocket. He then went to the landlady of the inn, who was a
cheerful and most kindly person, and asked her advice as to such stores and provisions as he would be likely
to require. She threw up her hands in amazement when he told her where he was going to settle himself.
"Not in the Judge's House!" she said, and grew pale as she spoke. He explained the locality of the house,
saying that he did not know its name. When he had finished she answered:
"Aye, sure enough—sure enough the very place! It is the Judge's House sure enough."
He asked her to tell him about the place, why so called, and what there was against it. She told him that it
was so called locally because it had been many years before, the abode of a judge who was held in great
terror on account of his harsh sentences and his hostility to prisoners at Assizes. As to what there was
against the house itself she could not tell. She had often asked, but no one could inform her; but there was a
general feeling that there was something, and for her own part she would not take all the money in
Drinkwater's Bank and stay in the house an hour by herself.
-Adapted from Dracula's Guest by Bram Stoker
In this passage, Malcomson goes from the busy town he lives in to an isolated small town, where he rents a
house. Based on this shift in setting, which of the following statements are true?
The shift in setting causes the mood to become more optimistic.
The shift in setting signals falling action.
The shift in setting causes the mood to become more apprehensive.
The climax of the story will likely occur when Malcomson returns home.
The shift in setting signals rising action.
Question 2:
The highway's steady stream of cars, all bound for different locations but also content to travel in the
same direction for a time, gave a rhythm to Becky's thoughts. She was calm and began to think that maybe
everything would work out after all.
Becky was so deep in thought that she almost missed her exit and had to change lanes quickly to get
over. She looked down at the address that she'd scrawled on a scrap of paper and frowned. They'd certainly
chosen a secluded meeting spot.
Ten minutes later, Becky steered her car from the pothole-riddled paved street to an equally rough dirt
road. The trees, thick and dark, seemed to close in around her, blotting out much of the day's dwindling light
and forming a narrow corridor for her to follow. Her heart began to sink as she traveled farther from the main
road and from help, should she need it.
She rounded a bend and slowed to a stop. The SUV was there, waiting.
How does the mood of the story change when the setting shifts from the highway to the dirt road?
It becomes more superstitious.
It becomes more threatening.
It becomes more reassuring.
It becomes more positive.
Question 3:
The floor screeched loudly. It reminded Henry of the jolting yelp that a sleeping dog might make if
someone accidentally tread on its tail. The atmosphere of the attic was slow and dreamy; the air felt as if it
hadn't been disrupted in years. Henry pulled a sheet off of an old arm chair and sat down to read the letter.
Time seemed to slow down as he ripped the seal of the envelope and unfolded the paper inside.
If this scene were set in a sunny garden, how might the mood change?
It would probably feel more tense.
It would probably be more cheerful.
It would probably feel less removed from time.
It would probably be more solemn.
Question 4:
In Mark Twain's The Prince and the Pauper, the prince leaves the protected and luxurious setting of the palace
and goes out into the city to join the masses of poor people. How do the characters he encounters outside the
palace likely differ from those inside?
They are less friendly than those in the palace.
They are more concerned with basic survival.
They have a lesser need for money than the royalty.
They are more friendly than those in the palace.
They are more familiar with physical labor.

Question 5:
Read the two passages from Peter Pan by J.M. Barrie. The first passage is from the children's journey with
Peter over the sea and on to Neverland. The second passage is from once they are in Neverland.
Passage 1
"Second to the right, and straight on till morning." That, Peter had told Wendy, was the way to the
Neverland; but Peter, you see, just said anything that came into his head.
At first his companions trusted him implicitly, and so great were the delights of flying that they entertained
themselves marvelously, soaring, circling, swooping.
They recalled with contempt that not so long ago they had thought themselves fine fellows for being able
to fly round a room.
Not long ago. But how long ago? They were flying over the sea before this thought began to disturb
Wendy seriously. John thought it was their second sea and their third night.
Sometimes it was dark and sometimes light, and now they were very cold and again too warm. They flew
on for miles and miles, but Neverland was still not in view.
Passage 2
While Wendy sat stitching on Marooner's Rock, a change came to the lagoon. Little shivers ran over it,
and the sun went away and shadows stole across the water, turning it cold. Wendy could no longer see to
thread her needle, and when she looked up, the lagoon that had always hitherto been such a laughing place
seemed formidable and unfriendly.
It was not, she knew, that night had come, but something as dark as night had come. No, worse than that.
It had not come, but it had sent that shiver through the sea to say that it was coming. What was it?
It was well for Wendy and those boys that there was one among them who could sniff danger even in his
sleep. Peter sprang erect, as wide awake at once as a dog, and with one warning cry he roused the others.
He stood motionless, one hand to his ear.
"Pirates!" he cried. The others came closer to him. A strange smile was playing about his face, and
Wendy saw it and shuddered. While that smile was on his face no one dared address him; all they could do
was to stand ready to obey. The order came sharp and incisive.
"Dive!"
There was a gleam of legs, and instantly the lagoon seemed deserted. Marooners' Rock stood alone in
the forbidding waters as if it were itself marooned.
The boat drew nearer. It was the pirate dinghy, with three figures in her, Smee and Starkey, and the third
a captive, no other than Tiger Lily. Her hands and ankles were tied, and she knew what was to be her fate.
How does the action change once the setting shifts to Neverland?
It is slower paced.
It contains more conflict.
It is faster paced.
It contains less conflict.

Lesson Topic: Analyze the effects of hypothetical plot and setting changes
Question 1:
Read the excerpt. The scene takes place at a Yale University reunion dance.
A few minutes later they drifted out on the floor while the dozen swaying, sighing members of the specially
hired jazz orchestra informed the crowded ballroom that "if a saxophone and me are left alone why then two
is com-pan-ee!"
A man with a mustache cut in.
"Hello," he began reprovingly. "You don't remember me."
"I can't just think of your name," she said lightly—"and I know you so well."
"I met you up at—" His voice trailed disconsolately off as a man with very fair hair cut in. Edith murmured
a conventional "Thanks, loads—cut in later," to the replaced partner.
The very fair man insisted on shaking hands enthusiastically. She placed him as one of the numerous
Jims of her acquaintance—last name a mystery. She remembered even that he had a peculiar rhythm in
dancing and found as they started that she was right.
"Going to be here long?" he breathed confidentially.
She leaned back and looked up at him.
"Couple of weeks."
"Where are you?"
"Biltmore. Call me up some day."
"I mean it," he assured her. "I will. We'll go to tea."
"So do I—Do."
A dark man cut in with intense formality.
"You don't remember me, do you?" he said gravely.
"I should say I do. Your name's Harlan."
"No-ope. Barlow."
"Well, I knew there were two syllables anyway. You're the boy that played the ukulele so well up at
Howard Marshall's house party.
"I played—but not—"
A man with prominent teeth cut in.
"My name's Dean, Philip Dean," he said cheerfully. "You don't remember me, I know, but you used to
come up to New Haven with a fellow I roomed with senior year, Gordon Sterrett."
Edith looked up quickly.
"Yes, I went up with him twice—to the Pump and Slipper and the Junior prom."
"You've seen him, of course," said Dean carelessly. "He's here to-night. I saw him just a minute ago."
Edith started. Yet she had felt quite sure he would be here.
"Why, no, I haven't—"
A fat man with red hair cut in.
"Hello, Edith," he began.
"Why—hello there—"
She slipped, stumbled lightly.
"I'm sorry, dear," she murmured mechanically.
She had seen Gordon—Gordon very white and listless, leaning against the side of a doorway, smoking,
and looking into the ballroom. Edith could see that his face was thin and wan—that the hand he raised to his
lips was trembling. They were dancing quite close to him now.
"Hello, Gordon," called Edith over her partner's shoulder. Her heart was pounding wildly.
His large dark eyes were fixed on her. He took a step in her direction. Her partner turned her away—she
heard his voice bleating something.
"May I, please?"
She was dancing suddenly with Gordon. Her hand holding the little lace handkerchief was crushed in his.
"Why Gordon," she began breathlessly.
"Hello, Edith."
-Adapted from "May Day" by F. Scott Fitzgerald
How might the action in the scene be different if it were set at a table at a reunion dinner party rather than on
the dance floor at a reunion dance?
Edith's feelings for Gordon would probably be less apparent to the reader.
There would probably be fewer interruptions in the dialogue.
Gordon would probably not appear in the scene.
There would probably be fewer people involved in conversation with Edith.
Question 2:
Read the story, paying attention to how the progression of events and the setting of the action contribute to the
story's effect.
Adapted from
The Mask of the Red Death
By Edgar Allan Poe
The "Red Death" had long devastated the country. No pestilence had ever been so fatal, or so hideous.
Blood was its sign and its seal—the redness and the horror of blood. There were sharp pains, and sudden
dizziness, and then profuse bleeding at the pores. The scarlet stains upon the body and especially upon the
face of the victim, were the marks which shut him out from the aid and from the sympathy of his fellow men.
And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and wise. When his dominions were half depopulated, he
summoned to his presence a thousand healthy and lighthearted friends from among the knights and dames of
his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive
and magnificent structure, the creation of the prince's own eccentric yet impressive taste. A strong and lofty
wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and hammers and
welded the bolts. They resolved to leave means neither of entrance nor exit to the sudden impulses of despair
or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid
defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to
think. The prince had provided all the appliances of pleasure. There were buffoons, there were ballet-dancers,
there were musicians, there was Beauty, there was wine. All these and security were within. Without was the
"Red Death".
It was towards the close of the fifth or sixth month of his seclusion, and while the pestilence raged most
furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most
unusual magnificence.
It was a great scene, that masquerade. But first let me tell of the rooms in which it was held. These were
seven—an imperial suite. To the right and left, in the middle of each wall, a tall and narrow Gothic window
looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained
glass whose colour varied in accordance with the prevailing hue of the decorations of the chamber into which it
opened. That at the eastern extremity was hung, for example in blue—and vividly blue were its windows. The
second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was
green throughout, and so were the casements. The fourth was furnished and lighted with orange—the fifth with
white—the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung
all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in
this chamber only, the colour of the windows failed to correspond with the decorations. The panes here were
scarlet—a deep blood colour. There was no light of any kind emanating from lamp or candle within the suite of
chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod,
bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room.
And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber
the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in
the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of
the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its
pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit
of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was
clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse
of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to
harken to the sound; and thus the waltzers then ceased their rotations; and there was a brief disruption of the
whole joyous company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew
pale, and the more aged and sedate passed their hands over their brows as if in confused reflection. But when
the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each
other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that
the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty
minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet
another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a cheerful and magnificent revel. The tastes of the duke were peculiar.
He had a fine eye for colours and effects. There are some who would have thought him mad. His followers felt
that he was not. It was necessary to hear and see and touch him to be sure that he was not.
He had directed, in great part, this great fête; and it was his own guiding taste which had given character to
the masqueraders. Be sure they were grotesque. There were much glare and glitter. There were figures with
unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There were
much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that
which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of
dreams. And these—the dreams—writhed in and about taking hue from the rooms, and causing the wild music
of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in
the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams
are stiff-frozen as they stand. But the echoes of the chime die away—they have endured but an instant—and a
light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams
live, and writhe to and fro more merrily than ever, taking hue from the many tinted windows through which
stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now
none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the
blood-coloured panes; and the blackness of the sable drapery appalls.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the
revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then
the music ceased, as I have told; and the rotations of the waltzers were quieted; and there was an uneasy
cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and
thus it happened that before the last echoes of the last chime had utterly sunk into silence, there were many
individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had
caught the attention of no single individual before. And the rumour of this new presence having spread itself
whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of
disapprobation and surprise—then, finally, of terror, of horror, and of disgust.
In an assembly of the fantastically dressed such as I have painted, it may well be supposed that no ordinary
appearance could have excited such sensation. There are chords in the hearts of the most reckless which
cannot be touched without emotion. The whole company, indeed, seemed now deeply to feel that in the
costume and bearing of the stranger neither cleverness nor appropriateness existed. The figure was tall and
gaunt, and shrouded from head to foot in the garments of the grave. The mask which concealed the face was
made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had
difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers
around. But the figure had gone so far as to assume the type of the Red Death. His clothing was dabbled in
blood—and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of the Prince Prospero fell upon this spectral image (which, with a slow and solemn
movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be
convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow
reddened with rage.
"Who dares,"—he demanded hoarsely of the courtiers who stood near him—"who dares insult us with this
mockery? Seize him and unmask him—that we may know whom we have to hang, at sunrise!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They
rang throughout the seven rooms loudly and clearly, for the prince was a bold and robust man, and the music
had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he
spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment
was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But
from a certain nameless awe, there were found none who put forth hand to seize him; so that, unimpeded, he
passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from
the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and
measured step which had distinguished him from the first, through the blue chamber to the purple—through
the purple to the green—through the green to the orange—through this again to the white—and even thence
to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince
Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the
six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a
drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure,
when the latter, having reached the doorway of the velvet apartment, turned suddenly and confronted his
pursuer. There was a sharp cry—and the dagger dropped gleaming upon the black carpet, upon which,
instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair,
a throng of the revellers at once threw themselves into the black apartment, and, seizing the tall figure that
stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the
garments and corpse-like mask with no tangible form inside.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one
by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture
of his fall. And the life of the ebony clock went out with that of the last of the courtiers. And the flames of the
tripods expired. And Darkness and Decay and the Red Death held dominion over all.
Question 3:
Read the excerpt.
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung
oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of
country, and at length found myself, as the shades of the evening drew on, within view of the melancholy
House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable
gloom pervaded my spirit. I looked upon the scene before me—upon the mere house, and the simple
landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few
rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul. There was an
iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the
imagination could torture into aught of the sublime.
Nevertheless, in this mansion of gloom I now proposed to myself a sojourn of some weeks. Its proprietor,
Roderick Usher, had been one of my best companions in boyhood; but many years had elapsed since our
last meeting. A letter, however, had lately reached me in a distant part of the country—a letter from him—
which, I felt required a reply in person. The writer spoke of acute bodily illness—of a mental disorder which
oppressed him—and of an earnest desire to see me, as his best and indeed his only personal friend, with a
view of attempting, by the cheerfulness of my society, some alleviation of his malady.
I rode on to the house and was shown in. Much that I encountered inside heightened the vague
sentiments of which I have already spoken. While the objects around me—while the carvings of the ceilings,
the sombre tapestries of the walls, and the ebony blackness of the floors were but matters to which, or to
such as which, I had been accustomed from my infancy—while I hesitated not to acknowledge how familiar
was all this—I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up.
The valet now threw open a door and ushered me into the presence of his master. The room in which I found
myself was very large and lofty. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and
irredeemable gloom hung over and pervaded all.
Upon my entrance, Usher rose from a sofa on which he had been lying at full length, and greeted me with
a vivacious warmth which had much in it, I at first thought, of an overdone politeness. A glance, however, at
his countenance convinced me of his perfect sincerity. We sat down; and for some moments, while he spoke
not, I gazed upon him with a feeling half of pity, half of awe. Surely, man had never before so terribly altered,
in so brief a period, as had Roderick Usher!
I learned, moreover, at intervals, and through broken and equivocal hints, another singular feature of his
mental condition. He was enchained by certain superstitious impressions in regard to the dwelling which he
tenanted, and whence, for many years, he had never ventured forth. He had come to believe that the family
mansion, with its gray walls and turrets, had taken control over the morale of his existence.
-Adapted from The Fall of the House of Usher by Edgar Allan Poe
What effect would it have on your understanding of the text if the House of Usher were described as a brighter
and more cheerful place?
There would be a better sense of the narrator's character.
Usher would be perceived as a more cheerful character.
There would be less of a sense of the connection between the house and Usher's mental
state.
The plot would lack a central problem to drive the action.
Question 4:
Jokubas guided his guests around the yards owned by the meatpacking company. There is over a square
mile of space in the yards, and more than half of it is occupied by cattle pens; north and south as far as the
eye can reach there stretches a sea of pens. And they were all filled—so many cattle no one had ever
dreamed existed in the world. Red cattle, black, white, and yellow cattle; old cattle and young cattle; great
bellowing bulls and little calves not an hour born; meek-eyed milch cows and fierce, long-horned Texas
steers. The sound of them here was as of all the barnyards of the universe; and as for counting them—it
would have taken all day simply to count the pens.
Here and there about the alleys galloped men upon horseback, booted and carrying long whips; they
were very busy, calling to each other and to those who were driving the cattle. They were drovers and stock
raisers, who had come from far states, and brokers and commission merchants, and buyers for all the big
packing houses. Here and there they would stop to inspect a bunch of cattle, and there would be a parley,
brief and businesslike. The buyer would nod or drop his whip, and that would mean a bargain; and he would
note it in his little book, along with hundreds of others he had made that morning. Then Jokubas pointed out
the place where the cattle were driven to be weighed, upon a great scale that would weigh a hundred
thousand pounds at once and record it automatically. It was near to the east entrance that they stood, and all
along this east side of the yards ran the railroad tracks, into which the cars were run, loaded with cattle. All
morning long this had been going on, and now the pens were full; by tonight they would all be empty, and
tomorrow the same thing would be done again.
-Adapted from The Jungle by Upton Sinclair
If this scene depicted Jokubus showing the visitors around the yards in the evening instead of during the day,
how might the mood change?
It would be more bustling.
It would be more calm.
It would be more ominous.
It would be more purposeful.
Question 5:
Read the plot summary.
The Giver is a novel by Lois Lowry. It is set in a future society where competition, violence, and hate have
all been eliminated, in addition to choice. In the society, adults are paired with partners in order to raise
children, and each child is assigned a role when they reach twelve years old. Anyone who breaks the rules is
"released," which is a euphemism for being put to death.
The main character, Jonas, is assigned the role of "Receiver of Memory." His job is to receive and keep
all of the memories of the past that the rest of the community no longer has. As he goes through this process
and relives memories of intense feelings and experiences, he realizes how much everyone else is missing
out on and eventually plans to escape to the outside world and release the memories back into the
community.
How would the story be different if it were set in today's society, not a fictional society of the future?
The society would have no problems that the book could criticize.
Jonas probably wouldn't be the "Receiver of Memory."
Jonas would probably be completely happy with his community.
The characteristics of the society would be different.

Lesson Topic: Analyze the effects of hypothetical character changes
Question 1:
Read the passage.
Mrs. Bennet was prevented replying by the entrance of the footman with a note for Miss Bennet; it came
from Netherfield, and the servant waited for an answer. Mrs. Bennet's eyes sparkled with pleasure, and she
was eagerly calling out, while her daughter read.
"Well, Jane, who is it from? What is it about? What does Mr. Bingley say? Well, Jane, make haste and tell
us; make haste, my love."
"It is from Miss Bingley," said Jane, and then read it aloud.
My dear Friend,
If you are so compassionate as to dine today with Louisa and me today, come as soon as you can on
the receipt of this. My brother and the gentlemen are to dine with the officers.
Yours ever,
Caroline Bingley.
"Mr. Bingley is dining out," said Mrs. Bennet, "that is very unlucky. I had wished you to see him. Seeing
you could only increase his affection."
"Can I have the carriage?" said Jane.
"No, my dear, you had better go on horseback, because it seems likely to rain; and then you must stay all
night."
"That would be a good scheme," said Elizabeth, "if you were sure that they would not offer to send her
home."
"Oh! but the gentlemen will have Mr. Bingley's chaise to go to Meryton; and the Hursts have no horses to
theirs."
"I had much rather go in the coach."
"But, my dear, your father cannot spare the horses, I am sure. They are needed on the farm, Mr. Bennet,
are not they?"
"They are needed on the farm much oftener than I can get them."
She did at last extort from Mr. Bennet an acknowledgment that the horses were engaged. Jane was
therefore obliged to go on horseback, and her mother attended her to the door with many cheerful
predictions of a bad day. Her hopes were answered; Jane had not been gone long before it rained hard. The
rain continued the whole evening without intermission; Jane certainly could not come back.
"This was a lucky idea of mine, indeed!" said Mrs. Bennet, more than once, as if the credit of making it
rain were all her own.
The next morning, breakfast was scarcely over when a servant from Netherfield brought the following
note for Elizabeth:
My dearest Lizzy,
I find myself very unwell this morning, which, I suppose, is to be credited to my getting wet through
yesterday. My kind friends will not hear of my returning home till I am better.
Yours, &c.
-Adapted from Pride and Prejudice by Jane Austen
If Mrs. Bennet were less concerned with Jane being able to see the gentlemen while at Netherfield, how might
the plot progress differently?
Jane would not have gotten sick.
Jane would go to Netherfield in the coach.
Mr. Bennet, not Mrs. Bennet, would have insisted that Jane go on horseback.
Jane's letter from Netherfield would have irritated, rather than pleased, Mrs. Bennet.
Jane would not have received a letter from Caroline Bingley.
Question 2:
Read the original passage and then the rewritten version.
Original Passage
In the kitchen Sally was extremely busy—saucepans and frying-pans were standing in rows on the
gigantic hearth, the huge stock-pot stood in a corner, and the spit turned with slow deliberation and
presented alternately to the glow every side of a noble sirloin of beef. The two little kitchen-maids bustled
around, eager to help, hot and panting, with cotton sleeves well tucked up above the dimpled elbows, and
giggling over some private jokes of their own, whenever Miss Sally's back was turned for a moment.
Rewritten Passage
In the kitchen Sally was extremely busy—saucepans and frying-pans were standing in rows on the
gigantic hearth, the huge stock-pot stood in a corner, and the spit turned with slow deliberation and
presented alternately to the glow every side of a noble sirloin of beef. The two little kitchen-maids dragged
themselves around, reluctant to help, hot and panting, with cotton sleeves well tucked up above the dimpled
elbows, and snickering over some private jokes of their own, whenever Miss Sally's back was turned for a
moment.
A few descriptive words have been changed in the second passage. How do these changes affect the
characterization of the kitchen maids?
In the original version, the kitchen maids seem like they are making fun of Sally. In the
second version, they seem to be dedicated to the work.
In the original version, the kitchen maids seem resentful of Sally. In the second version,
they seem fond of her.
In the original version, the kitchen maids seem silly and as if they don't take their work
seriously. In the second version, they seem like more focused workers.
In the original version, the kitchen maids seem helpful and busy. In the second version,
they seem lazy and ill-tempered.
Question 3:
Read the plot summary.
To Kill a Mockingbird, by Harper Lee, is set in 1933-1935 in the small, southern town of Maycomb,
Alabama. It is told from the perspective of Scout, a young girl whose father is a lawyer in the town. In the
novel, her father agrees to defend an African American man named Tom Robinson, who has been accused
of assaulting a white woman. This decision infuriates the town's racist white community and the trial becomes
a major conflict in the plot.
If the story had been told by an adult Scout, how might the narration have changed?
It probably would have had more of a naïve point of view about the community dynamics.
It probably would have had more of a biased point of view about the community dynamics.
It probably would have focused less attention on the trial.

It probably would have expressed Scout's desire to get out of the racist town.
Question 4:
When Mary rose from the table, Martha stopped her.

"I've got somethin' to tell you," she said. "I thought I'd let you eat your dinner first. Mr. Craven came back
this mornin' and I think he wants to see you."
Mary turned quite pale.
"Oh!" she said. "Why! Why! He didn't want to see me when I came."
"Well," explained Martha, "Mrs. Medlock says it's because o' my mother. I don't know what she said to him
about you but she said somethin' as put him in th' mind to see you before he goes away again tomorrow."
All the pink left Mary's cheeks. Her heart began to thump and she felt herself changing into a stiff, plain,
silent child again.
After she was quite tidy, she followed Mrs. Medlock down the corridors, in silence. What was there for her
to say? She knew Mr. Craven would not like her, and she would not like him. She knew what he would think
of her.
At last Mrs. Medlock knocked at a door, and when someone said, "Come in," they entered the room
together.
"This is Miss Mary, sir," Mrs. Medlock said.
"You can go and leave her here. I will ring for you when I want you to take her away," said Mr. Craven.
"Come here!" he said to Mary.
Mary went to him.
He was not ugly. His face would have been handsome if it had not been so miserable. He looked as if the
sight of her worried and fretted him and as if he did not know what in the world to do with her.
-From The Secret Garden by Frances Hodgson Burnett
If Mr. Craven, Mary's uncle, had been more interested in getting to know her when she first arrived to stay with
him, how would the action have progressed differently?
Mr. Craven's appearance would be described differently.
This scene would not appear in the novel.
Martha's mother would not appear as a character in the novel.
There would be less awkwardness and uncertainty between Mary and Mr. Craven.
Question 5:
"Of course I was terrible frightened," the shepherd went on, "yet somehow I couldn't keep away. So this
very evening before I come down, I took a cast by the cave, quietly. And there—O Lord! there I saw him at
last, plain as I see you."
"Saw who?" said his wife, beginning to share in her husband's nervous terror.
"Why him I'm a telling you!" said the shepherd. "He was sticking halfway out of the cave and seemed to be
enjoying the evening in a poetical sort of way. He was as big as four cart-horses and all covered in shiny
scales. As he breathed, there was a sort of flicker over his nostrils. He had his chin on his paws, and I should
say he was meditating about things. Oh, yes, a peaceable sort o'beast enough, and not carrying on or doing
anything but what was quite right and proper. I admit all that. And yet, what am I to do? Scales, you know,
and claws, and a tail for certain, though I didn't see that end of him—I ain't used to 'em, and I don't hold with
'em, and that's a fact!"
The Boy, who had apparently been absorbed in his book of fairytales during his father's recital, now
closed the volume, yawned, clasped his hands behind his head, and said sleepily, "It's alright, Father. Don't
you worry. It's only a dragon."
"Only a dragon?" cried his father. "What do you mean, sitting there and saying only a dragon? And what
do you know about it?"
The Boy replied quietly, "Look here, Father, you know we've each of us got our line. You know about
sheep, and the weather, and things; I know about dragons. I've read about them a good deal. I always said,
you know, that that cave up there was a dragon cave. Well, now you tell me it has got a dragon, and I'm not
half as much surprised as when you told me that it hadn't got a dragon. Please, leave this all to me. I'll stroll
up tomorrow if I'm free, and I'll go up and have a talk to him, and you'll find it'll be all right. Only, please, don't
you go worrying round there without me. You don't understand 'em a bit, and they're very sensitive, you
know!"
-Adapted from "The Reluctant Dragon" by Kenneth Grahame
Imagine that instead of growing up reading about dragons and other mythical creatures, the Boy simply
learned about being a shepherd from his father. In that case, which of the following statements would most
likely be true?
He probably would have reacted to his father's news with less interest.
He probably would have reacted to his father's news in the same way.
He probably would have reacted to his father's news with more happiness.
He probably would have reacted to his father's news with more alarm.
Lesson: Connotation
Lesson Topic: Determine the connotation of a word
Question 1:
Read the sentence below.
My cousin is an egghead who can't help but correct everybody.
Choose the best connotation for egghead.
positive
neutral
negative
Question 2:
Several automobiles require diesel instead of regular gasoline.
Choose the best connotation for automobiles.
positive
neutral
negative
Question 3:
The lab will analyze the samples by next week.
Choose the best connotation for analyze.
positive
neutral
negative
Question 4:
Martin is the perfect athlete: he is strong, fast, and coordinated.
Choose the best connotation for athlete.
positive
neutral
negative
Question 5:
The captain of the ship became a hero when he saved a crew member who had fallen overboard.
Choose the best connotation for hero.
positive
neutral
negative
Lesson Topic: Interpret shades of meaning using connotation
Question 1:
Authors choose specific words to convey a particular tone or meaning.
Is the statement true or false?
true
false
Question 2:
Which word best conveys the idea of strength?
horse
stallion
pony
mare
foal
Question 3:
Which words or phrases are associated with the word heart?
intelligence
blood
love
teddy bear
red
Question 4:

The cooks slaved away for hours in order to make enough food for all of the guests.
Choose the best definition for slaved using connotation.
imprisoned or captured
worked tirelessly
treated as second-class citizens
cooked with precision
Question 5:
The government accused the warlord of committing unspeakable crimes.
Choose the best definition for unspeakable using connotation.
extremely evil
unable to be expressed in words
silent or very quiet
seen rather than heard

Lesson: Figurative Language
Lesson Topic: Identify figurative language
Question 1:
The world record for holding one's breath is over twenty minutes.
Is the sentence literal or figurative?
literal
figurative
Question 2:
The cup of coffee was steaming hot.
literal
figurative
Question 3:
The sprinter was a torpedo aiming straight for the finish line.
literal
figurative
Question 4:
Which sentence uses figurative language?
The toy company had money coming out of its ears.

Bolt became the fastest man in the world after his Olympic victory.
The price of gasoline has more than doubled over the last ten years.
Albert Einstein was a genius with an IQ of 160.
Question 5:
Which sentence uses literal language?
The moon completely blocked out the sun during the eclipse.
I am a zombie in the morning before I drink my coffee.
The astronomy project is a pain in my neck
After we changed the battery, the car roared back to life.

Lesson Topic: Interpret similes
Question 1:
The company redesigned its new sedan, which now comes in sleek silver or shiny gold. The car's body is
rounder and more streamlined. The interior is completely metallic with blue, glowing buttons. Altogether, the
car looks like a spaceship.
Which sentence from the passage has a simile?
The company redesigned its new sedan, which now comes in sleek silver or shiny gold.
The car's body is rounder and more streamlined.
The interior is completely metallic with blue, glowing buttons.
Altogether, the car looks like a spaceship.
Question 2:
The company redesigned their new sedan, which now comes in sleek silver or shiny gold. The car's body
is rounder and more streamlined. The interior is completely metallic with blue, glowing buttons. Altogether,
the car looks like a spaceship.
Identify the two things being compared in the underlined simile.
Altogether
car
looks
like
spaceship
Question 3:

Sarita Patel astounded the math professors. The five-year-old girl could multiply ten-digit numbers. She
correctly answered all of their questions, and she did it all in her head. She was like a human calculator.
Choose the best meaning for the underlined simile.
The professors asked extremely easy questions.
Sarita is better at math than most adults.
Sarita learned to use a calculator at an early age.
The professors think Sarita is a robot.
Question 4:
The dishwasher began rumbling and overflowing with soapy water. The manager tripped and fell when he
ran over to check it. He told everyone to be careful. The floor was as slippery as ice.
The manager thought the floor was cold.
It was dangerous and difficult to walk on the ground.
The heater must have stopped working.
The water in the dishwasher had frozen.
Question 5:
The race was on. Mark sprinted passed his opponents. His feet were a blur to the crowd. The other
runners barely noticed he had passed them until they heard the cheers. Mark was as fast as lightning.
Mark ran surprisingly quickly.
Mark's feet thumped loudly when he ran.

Mark almost ran into the runners and hurt them.
Mark cheated in the race.

Lesson Topic: Interpret metaphors
Question 1:
The captain of the basketball team is a shark on the court. He circles his opponents, and his eyes never
leave the ball. When you least expect it, he'll pounce and steal the ball from you.
Identify the metaphor in the passage.
The captain of the basketball team is a shark on the court.
He circles his opponents, and his eyes never leave the ball.
When you least expect it, he'll pounce and steal the ball from you.
Question 2:
Identify the two things being compared in the underlined metaphor.
captain
basketball
team
shark
court
Question 3:
What can you infer from the underlined context clues?
The captain acts like a predator.
The captain relies on math to win.
Other players have been hurt by the captain.
Other players tend to run away from the captain.
Question 4:
The doctor decided I was ready to go home. I had broken my legs during a skiing accident. As I limped
out the door, I asked if I should take any medicine.
He shook his head and said, "Rest is the best medicine."
Choose the best meaning for the underlined metaphor.
Resting and relaxing can make you feel better.
Drugs cannot cure broken bones.
The medicine will make it harder for you to sleep.
"Rest" is the name of a new drug.
Question 5:
Something put the boss in a bad mood. He was a dark cloud. He snapped at an intern who made a joke.
Pretty soon, we all grew quiet and focused on our work.
Choose the best meaning for the underlined metaphor.
The boss wore dark clothing.
The weather greatly affected the boss's emotions.
The sprinklers sprayed water over everyone.

The boss spoiled other people's good mood.
Lesson: Rhyme and Sound Devices
Lesson Topic: Identify alliteration, assonance, and consonance
Question 1:
Which phrase uses assonance?
french fries
fun on the bus
the box has many locks
the look of a book
Question 2:
Which phrase uses alliteration?
clapping clowns
kindred spirits
the mist of the ghost
the ding of a bell
Question 3:
Which phrase uses consonance?
sing along
cooking cupcakes
brown cow
seal the deal
Question 4:
Clean and sweep the floor after dinner.
Identify the sound device it uses.
alliteration
assonance
con sonance
Question 5:
He offers soup and sandwiches for lunch.
Identify the sound device it uses.
alliteration
assonance
consonance
Lesson Topic: Identify onomatopoeia
Question 1:
Which words are examples of onomatopoeia?
oink
break
ding
ahchoo
whistle
Question 2:
woof
hiccup
croak
yell
question
Question 3:
boing
open
cluck
ribbit
tie
Question 4:
"Ow! That twig is awfully sharp."
Identify the onomatopoeia.
ow
that
twig
awfully
sharp
Question 5:
The birds began chirping long before the sun rose.
Identify the onomatopoeia.
birds
began
chirping
sun
rose
Lesson Topic: Identify rhyme scheme
Question 1:
Read the poem excerpt below.
No gifts have I from Indian coasts

The infant year to hail:
I send you more than India boasts
In Edwin’s simple tale.
-From “To Miss Logan” by Robert Burns
Which rhyme scheme best describes it?
ABAB
ABCA
ABAC
AABB
Question 2:
A little, upright, pert, tart, tripping wight,

And still his precious self his dear delight;
Who loves his own smart shadow in the streets
Better than e’er the fairest she he meets:
-From “To Miss Logan” by Robert Burns
ABAC
AABB
ABAB
ABCA
Question 3:
It is very aggravating
To hear the solemn prating
Of the fossils who are stating
That old Horace was a prude;
-From “The Truth About Horace” by Eugene Fields
AAAB
ABAB
ABAC
ABCA
Question 4:
The little toy dog is covered with dust,

But sturdy and stanch he stands;
And the little toy soldier is red with rust,
And his musket molds in his hands.
-From “Little Boy Blue” by Eugene Field
AABB
ABCA
ABAB
ABAC
Question 5:
Yet now the dew-drop, now the morning gray,

Shall live their little lucid sober day
Ere with the sun their souls exhale away.
Now in each pettiest personal sphere of dew
-From “Hymns of the Marsh” by Sidney Lanier
ABCA
ABAB
AAAB
ABAC
Lesson Topic: Determine the effect of sound devices
Question 1:
Flash and flicker and fly away,

Trailing light as you flutter far,
Are you a lamp for the fairies, say?
Or a flake of fire from a falling star?
-From "The Firefly" by Evaleen Stein
Choose the tone that best describes it.
harsh
pleasant
Question 2:
So fine a show was never seen

At the great circus on the green;
For every kind beast and man
Is marching in that caravan.
-From "Young Night Thought" by Robert Louis Stevenson
Choose the tone that best describes it.
harsh
pleasant
Question 3:
Which phrase conveys a harsh tone?
like the lapping of the lake
knock and kick on the brick

the sweet ship's sails
the fun fillies founded
Question 4:
Which phrase conveys a soft tone?
cold, careless night
prisoner's problems
cross country trail
love and like
Question 5:
Which phrase conveys a soft tone?
no one knows the night's intentions
the blunt, grunt trudging of troops
the flicker and wisps of Florentine wishes
the cruel cackle of midnight

Lesson: Structure of Drama
Lesson Topic: Identify the parts of a script
Question 1:
Which of the following is an example of a drama?
a novel
a poem
a play
a textbook
Question 2:
Which part of the script is in blue?
cast of characters
setting
title
dialogue
Question 3:
What is the setting in the play?
the wolf's dining room
a pasture last spring
the lamb's house
a brook in the woods

Question 4:
the cast of characters
dialogue
setting
title
Question 5:
setting
dialogue
act and scene
title
Lesson Topic: Differentiate between scenes and acts in drama
Question 1:
Which is the correct organization for a script?
Scene I
Act 1
Act 2
Scene 2
Act 1
Act 2
Act I
Scene 1
Scene 2
Act II
Scene 1
Scene 2
Scene 3
Act I
Scene 2
Scene 3
Act IV
Scene 5
Scene 6
Question 2:
Which is longer, an act or a scene?
scene
neither
act
Question 3:
Read the summary below. Is it more likely to be an act or a scene?

A girl discovers that her best friend has been kidnapped by aliens and goes on a mission to rescue her.
act
scene
Question 4:
Two roommates get into an argument over whose turn it is to clean the kitchen.
act
scene
Question 5:
The hero of the play makes a bold speech to inspire the other characters and win their support.
act
scene
Lesson Topic: Understand the importance of dialogue in drama
Question 1:
Read the excerpt of the play below. Based on Anya's dialogue, what do we know about how she is feeling?
ANYA: Always the same... [Puts her hair straight] I've lost all my hairpins... [She staggers as she walks.]
DUNYASHA: I don't know what to think about it. He loves me, he loves me so much!
ANYA: [Looks into her room; in a gentle voice] My room, my windows, as if I'd never gone away. I'm at home!
Tomorrow morning I'll get up and have a run in the garden... Oh, if I could only get to sleep! I didn't sleep the
whole journey, I was so bothered.
-From The Cherry Orchard by Anton Chekhov
she is confused
she is bored
she is exhausted
she is in love
Question 2:
Read the excerpt of the play below. Based on the dialogue, what do we know about Anya's role in the plot of
the play?
ANYA: Always the same... [Puts her hair straight] I've lost all my hairpins... [She staggers as she walks.]
DUNYASHA: I don't know what to think about it. He loves me, he loves me so much!
ANYA: [Looks into her room; in a gentle voice] My room, my windows, as if I'd never gone away. I'm at home!
Tomorrow morning I'll get up and have a run in the garden... Oh, if I could only get to sleep! I didn't sleep the
whole journey, I was so bothered.
-From The Cherry Orchard by Anton Chekhov
Anya has returned home after being away for a long time.
Anya is an old woman who has grown forgetful.
Anya is planning to get married soon.
Anya has returned from a long day at work.
Question 3:
Read the excerpt of the play below. Based on the dialogue, what do we know about Algernon's relationship
with Lane?
ALGERNON: Good heavens! Is marriage so demoralizing as that?

LANE: I believe it is a very pleasant state, sir. I have had very little experience of it myself up to the present. I
have only been married once. That was in consequence of a misunderstanding between myself and a young
person.
ALGERNON: [Languidly] I don’t know that I am much interested in your family life, Lane.
LANE: No, sir; it is not a very interesting subject. I never think of it myself.
ALGERNON: Very natural, I am sure. That will do, Lane, thank you.
LANE: Thank you, sir. [Lane goes out.]
-From The Importance of Being Earnest by Oscar Wilde
Algernon and Lane are brothers.
Algernon and Lane are good friends.
Algernon admires Lane.
Algernon looks down on Lane.
Question 4:
Read the excerpt of the play below. Based on the dialogue, which personality trait best describes Lane's
character?
ALGERNON: Good heavens! Is marriage so demoralizing as that?

LANE: I believe it is a very pleasant state, sir. I have had very little experience of it myself up to the present. I
have only been married once. That was in consequence of a misunderstanding between myself and a young
person.
ALGERNON: [Languidly] I don’t know that I am much interested in your family life, Lane.
LANE: No, sir; it is not a very interesting subject. I never think of it myself.
ALGERNON: Very natural, I am sure. That will do, Lane, thank you.
LANE: Thank you, sir. [Lane goes out.]
compassionate
submissive
unpredictable
bold
Question 5:
Read the excerpt of the play below. Based on the dialogue, which personality trait best describes Algernon's
character?
ALGERNON: My dear fellow, the way you flirt with Gwendolen is perfectly disgraceful. It is almost as bad as
the way Gwendolen flirts with you.
JACK: I am in love with Gwendolen. I have come up to town expressly to propose to her.
ALGERNON: I thought you had come up for pleasure? . . . I call that business.
professional
whimsical
unromantic
idealistic
Lesson Topic: Understand the importance of monologues, soliloquies, and asides in a drama
Question 1:
MACBETH: Go bid thy mistress, when my drink is ready,

She strike upon the bell. Get thee to bed.
[Exit Servant.]
Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? Or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable
As this which now I draw.
-From Macbeth by William Shakespeare
Which term best describes the blue portion of the text?
dialogue
monologue
soliloquy
aside
Question 2:
SONIA: What can we do? We must live our lives. [A pause] Yes, we shall live, Uncle Vanya. We shall live
through the long procession of days before us, and through the long evenings; we shall patiently bear the
trials that fate imposes on us; we shall work for others without rest, both now and when we are old. [SONIA
kneels down before her uncle and lays her head on his hands. She speaks in a weary voice] Then we shall
rest. [TELEGIN plays softly on the guitar] We shall rest. [She wipes away her tears] My poor, poor Uncle
Vanya, you are crying! [Weeping] You have never known what happiness was, but wait, Uncle Vanya, wait!
We shall rest. [She embraces him] We shall rest. [The WATCHMAN'S rattle is heard in the garden; TELEGIN
plays softly; MME. VOITSKAYA writes something on the margin of her pamphlet; MARINA knits her stocking]
We shall rest.
-Adapted from Uncle Vanya by Anton Chekhov
Which term best describes this speech?
dialogue
monologue
soliloquy
aside
Question 3:
JULIET: O Romeo, Romeo! wherefore art thou Romeo?

Deny thy father and refuse thy name!
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO: [aside] Shall I hear more, or shall I speak at this?
JULIET: 'Tis but thy name that is my enemy.

Thou art thyself, though not a Montague.
-From Romeo and Juliet by William Shakespeare
Which term best describes the blue portion of the text?
dialogue
monologue
soliloquy
aside
Question 4:
A playwright is writing a drama about an innocent man who is accused of a terrible crime. During one scene
in the courtroom, the man makes a passionate speech in his defense.
Which term best describes the type of speech that the playwright would need for this part of the play?
dialogue
monologue
soliloquy
aside
Question 5:
A playwright is writing a play about a woman who goes on a trek through the wilderness. In one scene, the
character wonders aloud about which direction she should travel, considering the details of each possible
route.
Which term best describes the type of speech that the playwright would need for this part of the play?
dialogue
monologue
soliloquy
aside
Lesson Topic: Understand stage directions in a drama
Question 1:
Read the excerpt of a drama below.
VARYA: [Through her tears] I'd like to... [Shakes her fist.]
ANYA: [Embraces VARYA, softly] Varya, has he proposed to you? [VARYA shakes head] But he loves you...
Why don't you make up your minds? Why do you keep on waiting?
-Adapted from The Cherry Orchard by Anton Chekhov
Based on the stage directions, what do we know about Varya's emotions?
She is very excited.
She is confused.
She is very upset.
She is surprised.
Question 2:
LOPAKHIN: Up to now in the villages there were only the gentry and the labourers, and now the people who
live in villas have arrived. All towns now, even small ones, are surrounded by villas. And it's safe to say that in
twenty years' time the villa resident will be all over the place. At present he sits on his balcony and drinks tea,
but it may well come to pass that he'll begin to cultivate his patch of land, and then your cherry orchard will
be happy, rich, splendid. . .
GAEV: [Angry] What rot!
-Adapted from The Cherry Orchard by Anton Chekhov
Based on the stage directions, what might Gaev do while speaking his lines?
frown
shout
glare at Lopakhin
all of the above
Question 3:
VIOLETTA: It's very unjust. Indeed, it's unjust! No other queen in the world has to understand cooking; even
the Queen of Spades doesn't. Why should the Queen of Hearts, of all people!
KNAVE: Perhaps it is because—I have heard a proverb: "The way to the heart is through the—"
VIOLETTA [stamping her foot]: Don't repeat that hateful proverb!
-Adapted from The Knave of Hearts by Louise Saunders
Based on the stage directions, what do we know about Violetta's emotions?
She is surprised.
She is angry.
She is enthusiastic.
She is restless.
Question 4:
An actor is standing in the center of the stage when his stage directions tell him to move down-stage. Which
image below best represents where he will move?
Question 5:
An actress is standing in the center of the stage when her stage directions tell her to move stage right. Which
image below best represents where she will move?
Lesson Topic: Differentiate between dialogue and stage directions in a drama
Question 1:
Read the drama excerpt below. Should the actor playing the Chancellor read the blue portion aloud or simply
act it out?
CHANCELLOR [knocking loudly]: The King commands you to open the door.
VIOLETTA: Commands! Tell him—Is he there—with you?
CHANCELLOR: His Majesty is at the door.
VIOLETTA: Pompy, I think you are rude, very rude indeed. I don't see how you can be so rude—to command
me, your own Violetta who loves you so. [She again looks in vain for the KNAVE.] Oh, dear! [Wringing her
hands] Where can he be!
-Adapted from The Knave of Hearts by Louise Saunders
read it aloud
act it out
Question 2:
Read the drama excerpt below. Should the actor playing Ben read the blue portion aloud or simply act it out?
BEN: She does nothin' all day long now but sit and sew—and then she cries to herself without makin' no
noise. I've seen her.
THE STEWARD: Aye, I could hear her through the door a while back.
BEN [tiptoes over to the door and listens]: She's cryin' now.
-Adapted from Ile by Eugene O'Neill
read it aloud
act it out
Question 3:
Read the drama excerpt below. Should the actor playing the Mate read the blue portion aloud or simply act it
out?
KEENEY [impatiently]: Speak your say, Mr. Slocum.

MATE [unconsciously lowering his voice]: I'm afeard there'll be trouble with the hands by the look o'
things. They'll likely turn ugly, every blessed one o' them, if you don't put back. The two years they signed up
for is up to-day.
KEENEY: And d'you think you're tellin' me somethin' new, Mr. Slocum? I've felt it in the air this long time past.
D'you think I've not seen their ugly looks and the grudgin' way they worked?
-Adapted from Ile by Eugene O'Neill
read it aloud
act it out
Question 4:
Read the drama excerpt below. Should the actor playing Fame read the blue portion aloud or simply act it out?
FAME: Hi, he's a poet. [Quickly, over her shoulder.] What's your name?
DE REVES: De Reves.
FAME: His name's de Reves.
DE REVES: Harry de Reves.
FAME: His pals call him Harry.
THE CROWD: Hooray! Hooray! Hooray!
-Adapted from Fame and the Poet by Lord Dunsany
read it aloud
act it out
Question 5:
Read the drama excerpt below. Should the actor playing Hilda read the blue portion aloud or simply act it out?
WHITE: I've been trying to tell you these last weeks; but I couldn't somehow.
HILDA: You were ashamed?
WHITE: No, dear; only I knew it would hurt you.
HILDA: I'm not thinking of myself but of you. You are going to be part of this war?
WHITE: I'm going to do what I can to help finish it.
-Adapted from Tides by George Middleton
read it aloud
act it out
Lesson Topic: Identify settings and setting descriptions
Question 1:
Read the drama excerpt below. What is the setting of this play?
TIDES
By George Middleton
CHARACTERS
WILLIAM WHITE, a famous Internationalist
HILDA, his wife
WALLACE, their son
SCENE: At the Whites'; spring, 1917. A simply furnished study. The walls are lined with bookshelves,
indicating, by their improvised quality, that they have been increased as occasion demanded. On these are
stacked, in addition to the books themselves, many files of papers, magazines, and "reports." The large
work-table, upon which rests a double student lamp and a telephone, is conspicuous. A leather couch with
pillows is opposite, pointing toward a doorway which leads into the living room. There is also a doorway in
back, which apparently opens on the hallway beyond. The room is comfortable in spite of its general
disorder: it is essentially the workshop of a busy man of public affairs. The strong sunlight of a spring day
comes in through the window, flooding the table.
a park on a sunny day
the seashore in the morning
a library in the afternoon
the Whites' home in the spring of 1917
Question 2:
Read the drama excerpt below. Based on the description provided, what additional information do you know
about the play?
TIDES
By George Middleton
CHARACTERS
WILLIAM WHITE, a famous Internationalist
HILDA, his wife
WALLACE, their son
SCENE: At the Whites'; spring, 1917. A simply furnished study. The walls are lined with bookshelves,
indicating, by their improvised quality, that they have been increased as occasion demanded. On these are
stacked, in addition to the books themselves, many files of papers, magazines, and "reports." The large
work-table, upon which rests a double student lamp and a telephone, is conspicuous. A leather couch with
pillows is opposite, pointing toward a doorway which leads into the living room. There is also a doorway in
back, which apparently opens on the hallway beyond. The room is comfortable in spite of its general
disorder: it is essentially the workshop of a busy man of public affairs. The strong sunlight of a spring day
comes in through the window, flooding the table.
When the play begins, William, Hilda, and Wallace are onstage.
William White is very busy.
Wallace is a college student.
Hilda is an avid reader, but she is not very organized.
Question 3:
If you are reading a drama, how will you know if the setting changes?
A narrator will announce the change of setting.
The characters will describe the new setting in the dialogue.
Drama settings cannot change.
The playwright will provide an updated setting description.
Question 4:
Read the drama excerpt below. What is the setting of this scene?
THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde
CHARACTERS
John Worthing, J.P.
Algernon Moncrieff
Rev. Canon Chasuble, D.D.
Merriman, Butler
Lane, Manservant
Lady Bracknell
Hon. Gwendolen Fairfax
Cecily Cardew
Miss Prism, Governess
Act I, Scene I
[Morning-room in Algernon’s apartment on Half-Moon Street. The room is luxuriously and artistically
furnished. The sound of a piano is heard in the adjoining room. Lane is arranging afternoon tea on the table,
and after the music has ceased, Algernon enters.]
ALGERNON: Did you hear what I was playing, Lane?
LANE: I didn’t think it polite to listen, sir.
ALGERNON: I’m sorry for that, for your sake. I don’t play accurately—any one can play accurately—but I play
with wonderful expression.
a concert hall
a coffee shop
Algernon's apartment
Half-Moon Street
Question 5:
Read the drama excerpt below. Based on the description provided, what additional information do you know
about Algernon?
THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde
CHARACTERS
John Worthing, J.P.
Algernon Moncrieff
Rev. Canon Chasuble, D.D.
Merriman, Butler
Lane, Manservant
Lady Bracknell
Hon. Gwendolen Fairfax
Cecily Cardew
Miss Prism, Governess
Act I, Scene I
[Morning-room in Algernon’s apartment on Half-Moon Street. The room is luxuriously and artistically
furnished. The sound of a piano is heard in the adjoining room. Lane is arranging afternoon tea on the table,
and after the music has ceased, Algernon enters.]
ALGERNON: Did you hear what I was playing, Lane?
LANE: I didn’t think it polite to listen, sir.
ALGERNON: I’m sorry for that, for your sake. I don’t play accurately—any one can play accurately—but I play
with wonderful expression.
Algernon is studious.
Algernon is wealthy.
Algernon is humble.
Algernon is popular.
Lesson Topic: Analyze plot structure in drama
Question 1:
Read the play below. As you read, consider how each scene contributes to the overall plot structure.
Not Such a Ruff Job
Characters
Laura, a seventh grader
Mr. Plemmon, Laura’s father
Ms. Oliver, Laura’s neighbor
Mr. Johnson, another neighbor
various other neighbors
Scene 1
[Laura’s bedroom on a Saturday afternoon. Laura sits on her bed, staring at the ceiling.]
LAURA: Another Saturday with nothing to do. If only I hadn’t broken my skateboard. Then I’d be outside,
skating all over town and meeting up with everyone at the park.
MR. PLEMMON [calling from offstage]: Laura! Come help me with the garden! You could use some fresh air.
LAURA: [sighing] I guess I’ve got nothing better to do.
Scene 2
[Outside in the garden, Mr. Plemmon is hard at work weeding, while Laura kicks at the dirt.]
MR. PLEMMON: Plenty of work to do, Laura. Pick up a pair of gloves and get to work!
LAURA: Does this mean you’ll give me extra allowance this week?
MR. PLEMMON: [amused] Doubtful! Just give me a hand for a few minutes. I could use the company.
LAURA: [dejectedly] Alright, alright.
[The two work for a few minutes, Mr. Plemmon whistling happily. After a few moments, Laura pauses and
stares into the distance. Ms. Oliver, an elderly neighbor, hobbles across the stage with her German Shepherd
tugging at its leash.]
She looks like she could use some help. Hey, wait a minute! I’ll be right back, Dad!
[Laura runs into the house and returns with poster paper and paints. She lays them on the ground and begins
working.]
MR. PLEMMON: What are you up to now? What happened to the garden?
LAURA: Dad, I’ve got a great idea. I’m going to start a dog-walking business so I can save up some money for
a new skateboard.
MR. PLEMMON: As long as you come back and help me when you’re done!
LAURA: Okay, okay.
[She stands up, picks up her posters, then runs offstage.]
Ms. Oliver, wait!
Scene 3
[A street in Laura’s neighborhood. Laura tacks a poster onto a telephone pole and moves on. Various
neighbors cross the stage, stopping to view Laura’s poster and nodding thoughtfully. Ms. Oliver enters stage
left with her dog.]
LAURA: Ms. Oliver! I was just looking for you. I’m starting a new dog-walking business, and I was wondering if
you needed any help with Buddy? It’s only five dollars per walk.
MS. OLIVER: Do I ever! He’s gotten far too big for me. Why you can take him for me right now! Just bring him
back to the house in thirty minutes.
MR. JOHNSON: Say, did you mention a dog-walking business? I never have enough time to take my dogs out
for their walks. Can you take on another client?
LAURA: Sure! Take one of my fliers!

[Laura hands a flier to the neighbor and takes the leash from Ms. Oliver.]
I’ll see you soon, Ms. Oliver!
Scene 4
[Laura runs across the stage, chasing a dog, before exiting. She reappears with a large dog and struggles to
walk it as she re-crosses the stage before exiting. Finally, she enters the stage with a third dog and crosses
once more, looking exhausted. Instead of exiting, she passes the leash to Mr. Johnson. Throughout this part of
the scene, the lights come up and down to show the passing of days.]
LAURA: Here you go, Mr. Johnson.
MR. JOHNSON: Thanks so much, Laura. You’re a real life saver. That’s five walks this week!
[He counts out Laura’s payment and places it in her hand before exiting.]
LAURA: [perking up] Wow! I’ll have that skateboard any day now! All that time I put into dog walking was really
worth it.
Scene 5
[A month later. Laura works side by side with her father in the garden. After a moment, they pause for a rest.]
MR. PLEMMON: I’m so glad you decided to join me. The garden looks great! I think we’re all set for today.
What are you up to this afternoon?
LAURA: I’m going to meet Javier down at the skate park later, but I’ve got a job to do before then.
[She stands up and walks offstage.]
MR. PLEMMON: Have fun!
[Laura reappears with Ms. Oliver’s dog and hops on her skateboard.]
LAURA: Oh, I will!
[The dog starts walking, pulling Laura and her skateboard offstage with him.]
Question 2:
Which scene from this play contains the exposition?
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Question 3:
Which scene from this play contains the climax?
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Question 4:
Which scene from this play contains the resolution?
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Question 5:
Which scenes from this play contain the rising action?

Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Lesson Topic: Analyze theme development in drama
Question 1:
Read the play below. As you read, consider how each scene contributes to the development of the theme.
Animal, Vegetable, Mineral, or Snow?
Characters
Andrew
Ricky
Billy
Mr. Palermo
Mrs. Palermo
Scene 1
[A cold winter morning. Snow is falling thickly. The Palermo family piles into their station wagon, parked at a
rest stop in rural Minnesota. The family is en route to a ski resort vacation.]
MR. PALERMO: Buckle up, kids!
MRS. PALERMO: Everyone ready?
ANDREW: Woo! Let’s go!
[Mrs. Palermo turns on the car and puts it in gear, but the car will not budge.]
MR. PALERMO: Hmm. It seems that we’re stuck.
MRS. PALERMO: How much could it have snowed? We’ve only been here for fifteen minutes!
MR. PALERMO: [peering out the window] Well, it’s a good thing we’ve got an emergency kit in the trunk. With
all five of us working, we’ll have ourselves dug out of here in a snap!
RICKY: Awww, Dad. It’s too cold! Can’t we just stay in the car?
MRS. PALERMO: You know, he’s right. The kids’ snow gear is all packed up. We might have to do this
ourselves.
MR. PALERMO: Alright, let’s make this quick. Kids, be good. I don’t want any bickering!
Scene 2
[Mr. and Mrs. Palermo are outside, shoveling away the snow. The three boys sit side by side, arguing over
their portable game system.]
BILLY: [taking the game from Ricky] I’m the oldest, so I get to play first.
ANDREW: [reaching across Ricky to take the game from Billy] No way. You always get to go first!
RICKY: [taking the game from Andrew] I’m sitting in the middle, so I should play. Then both of you can watch.
BILLY: [angrily, attempting to take the game from Ricky] That’s—not—fair!
[Ricky releases the game and it goes flying across the car where it lands with a thud. Ricky scrambles after it
and flips the switch on and off.]
RICKY: Great, now it’s really busted. None of us can play now.
ANDREW: [crossing his arms and pouting] I wish we’d never even come on this vacation.
Scene 3
[Mr. and Mrs. Palermo are back in the car.]
MRS. PALERMO: Brrr! That was cold!
MR. PALERMO: Let’s try this again.
[Mrs. Palermo turns the car on and puts it in gear. Both Mr. and Mrs. Palermo grin excitedly, ready to be back
on the road. The boys roll their eyes and stare out the window sullenly. The car inches forward, then stops with
a squealing noise.]
MRS. PALERMO: Must be too slick now.

MR. PALERMO: [sighing] Alright, back into the cold. Boys, be good. Why don’t you play a game or something
while we’re outside? Twenty questions! That’s a great one! You might as well do something fun while we’re
stuck here.
[The boys grumble and avoid looking at each other.]
Scene 4
[A few minutes later. Mr. and Mrs. Palermo are back outside. The boys are silent for several moments.]
BILLY: [grumpily] Fine. I thought of something. You have twenty questions to guess it.
ANDREW: [perking up] Is it something in this car?
BILLY: No.
RICKY: Is it something outside the car?
BILLY: [hesitantly] Yes…
ANDREW: Is it snow?
BILLY: Uggh, that was too easy.
[The boys laugh.]
RICKY: I want to go next! I’ve got something in mind!
BILLY: Is it something inside the car?
RICKY: Yes.
ANDREW: Is it alive?
RICKY: No
[The scene fades out as the boys continue guessing.]
Scene 5
[Mr. and Mrs. Palermo are back in the car, and the car is back on the road.]
MRS. PALERMO: Ten miles to our destination!
BOYS: [in unison] Yay!
MR. PALERMO: Who’s next?
ANDREW: Me! Me! It’s my turn!
MRS. PALERMO: Is it an animal?
ANDREW: No.
BILLY: Is it a plant?
ANDREW: No.
RICKY: Is it an awesome family vacation?
ANDREW: Maybe…
[The family laughs and the scene fades to black.]
Question 2:
Which statement below best represents the theme of this play?
Family ties are stronger than the bonds of friendship.
Greed inevitably leads to one's downfall.
A positive attitude can improve a bad situation.

Preparation is essential for successful travels.
Question 3:
Which piece of dialogue best reveals the theme?
It's too cold! Can't we just stay in the car?
I wish we'd never even come on this vacation.
Great, now it’s really busted. None of us can play now.
You might as well do something fun while we’re stuck here.
Question 4:
How does Scene 2 contribute to the theme of the play?
The characters grow and change.
The characters come to a realization.
The characters encounter a challenge.
The characters overcome a challenge.
Question 5:
How does Scene 4 contribute to the theme of the play?
The characters fail to overcome a challenge.
The characters begin to change.
The characters encounter a conflict.
all of the above

Lesson Topic: Compare comedies and tragedies
Question 1:
A play tells the story of a determined lawyer who breaks the law to win a case. In the end, he gets caught and
is sent to jail. Is this play more likely a comedy or a tragedy?
comedy, because the plot is very amusing to audiences
tragedy, because the plot is not very humorous
comedy, because the character experiences many mishaps
tragedy, because the lawyer's ambition leads to his downfall
Question 2:
A play tells the story of a couple who fall in love and marry happily despite a series of mix-ups during their
courtship.
Is this more likely to be a comedy or a tragedy?
comedy
tragedy
Question 3:
A play tells the story of a corrupt politician who gets caught accepting money from shady organizations. Voters
lose faith in him and his career is ruined.
tragedy
comedy
Question 4:
A play tells the story of a star student who refuses to help her classmates. When she calls upon them in a time
of need, she discovers that no one is willing to assist her.
comedy
tragedy
Question 5:
Read the play excerpt below.
LADY WINDERMERE: Lord Darlington, you annoyed me last night at the Foreign Office. I am afraid you are
going to annoy me again.
LORD DARLINGTON: I, Lady Windermere?
[Enter PARKER and FOOTMAN C., with tray and tea things.]
LADY WINDERMERE: Put it there, Parker. That will do. [Wipes her hands with her pocket-handkerchief, goes
to tea-table, and sits down.] Won’t you come over, Lord Darlington?
[Exit PARKER C.]
LORD DARLINGTON: [Takes chair and goes across L.C.] I am quite miserable, Lady Windermere. You must
tell me what I did. [Sits down at table L.]
LADY WINDERMERE: Well, you kept paying me elaborate compliments the whole evening.
LORD DARLINGTON: [Smiling.] Ah, nowadays we are all of us so hard up, that the only pleasant things to
pay are compliments. They’re the only things we can pay.
-From Lady Windermere's Fan by Oscar Wilde
Is this more likely to be part of a comedy or a tragedy?
comedy
tragedy
Lesson: Structure of Poetry
Lesson Topic: Identify stanzas and lines within a poem
Question 1:
Read the poem below.
The moon has a face like the clock in the hall;

She shines on thieves on the garden wall,
On streets and fields and harbor quays,
And birdies asleep in the forks of the trees.
The squalling cat and the squeaking mouse,

The howling dog by the door of the house,
The bat that lies in bed at noon,
All love to be out by the light of the moon.
But all of the things that belong to the day

Cuddle to sleep to be out of her way;
And flowers and children close their eyes
Till up in the morning the sun shall rise.
-The Moon by Robert Louis Stevenson
Which of the following statements about the poem are true?
The poem has twelve stanzas.
Each stanza in the poem has four lines.
The poem has three lines.
The poem has three stanzas.
Question 2:
Read the selection below. Is this an example of prose or poetry?
It was many and many a year ago, In a kingdom by the sea,

That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.
-From "Annabel Lee" by Edgar Allan Poe
prose
poetry
Question 3:
Read the poem below. How many stanzas does it contain?
How like a winter hath my absence been

From Thee, the pleasure of the fleeting year!
What freezings have I felt, what dark days seen,
What old December's bareness everywhere!
And yet this time removed was summer's time:

The teeming autumn, big with rich increase,
Bearing the wanton burden of the prime
Like widow'd wombs after their lords' decease:
Yet this abundant issue seem'd to me

But hope of orphans, and unfather'd fruit;
For summer and his pleasures wait on thee,
And, thou away, the very birds are mute;
Or if they sing, 'tis with so dull a cheer,

That leaves look pale, dreading the winter's near.
-"Sonnet 97" by William Shakespeare
three
four
twelve
fourteen
Question 4:
Read the poem below. How many lines are in the fourth stanza?
How like a winter hath my absence been

From Thee, the pleasure of the fleeting year!
What freezings have I felt, what dark days seen,
What old December's bareness everywhere!
And yet this time removed was summer's time:

The teeming autumn, big with rich increase,
Bearing the wanton burden of the prime
Like widow'd wombs after their lords' decease:
Yet this abundant issue seem'd to me

But hope of orphans, and unfather'd fruit;
For summer and his pleasures wait on thee,
And, thou away, the very birds are mute;
Or if they sing, 'tis with so dull a cheer,

That leaves look pale, dreading the winter's near.
-"Sonnet 97" by William Shakespeare
one
two
three
four
Question 5:
Read the poem excerpt below. How many stanzas are shown?
There will we sit upon the rocks
And see the shepherds feed their flocks
By shallow rivers, to whose falls
Melodious birds sing madrigals.
There will I make thee beds of roses

And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle.
A gown made of the finest wool,

Which from our pretty lambs we pull,
Fair-lined slippers for the cold,
With buckles of the purest gold.
-From "The Passionate Shepherd to His Love" by Christopher Marlowe
one
two
three
four
Lesson Topic: Differentiate between internal and end rhyme
Question 1:
I am the daughter of Earth and Water,

And the nursling of the Sky;
I pass through the pores of the ocean and shores;
I change, but I cannot die.
-From "The Cloud" by Percy Bysshe Shelley
Which words create internal rhyme in this excerpt?
daughter and Water
pores and shores
Sky and die
Earth and Water
Question 2:
Read the poem excerpt below. Does it contain end rhymes or internal rhymes?
Jenny and Me were engaged, you see,

On the eve of the Fancy Ball;
So a kiss or two was nothing to you
Or any one else at all.
-From "Pink Dominoes" by Rudyard Kipling
end rhymes
internal rhymes
both
Question 3:
In mist or cloud, on mast or shroud,

It perched for vespers nine;
Whiles all the night, through fog-smoke white...
-From "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge
end rhymes
internal rhymes
both
Question 4:
The peasant whose lot was to sow and to reap,

The herdsman who climbed with his goats to the steep,
The beggar that wandered in search of his bread,
Have faded away like the grass that we tread.
-From "Mortality" by William Knox
end rhymes
internal rhymes
both
Question 5:
How dear to this heart are the scenes of my childhood,

When fond recollection presents them to view!
The orchard, the meadow, the deep-tangled wild-wood,
And every loved spot which my infancy knew!
-From "The Old Oaken Bucket" by Samuel Woodworth
end rhymes
internal rhymes
both
Lesson Topic: Identify a poem’s rhyme scheme
Question 1:
He digs the flowers, green, red and blue,

Nor wishes to be spoken to.
He digs the flowers and cuts the hay,
And never seems to want to play.
-From "The Gardener" by Robert Louis Stevenson
What rhyme scheme is used in the excerpt?
ABBA
ABCA
AABB
ABAB
Question 2:
Read the poem excerpt below. Which rhyme scheme best describes it?
No more to chiefs and ladies bright

The harp of Tara swells;
The chord alone, that breaks at night,
Its tale of ruin tells.
-From “The Harp That Once Through Tara's Halls” by Thomas Moore
ABAC
AABB
ABAB
ABCA
Question 3:
When cats run home and light is come,

And dew is cold upon the ground,
And the far-off stream is dumb,
And the whirring sail goes round,
And the whirring sail goes round;
Alone and warming his five wits,
The white owl in the belfry sits.
-From “The Owl” by Alfred Tennyson
ABABABA
ABABBCC
AABBCC
ABCABC
Question 4:
"I'll tell you how the leaves came down,"

The great Tree to his children said:
"You're getting sleepy, Yellow and Brown,
Yes, very sleepy, little Red.
It is quite time to go to bed."
-From “How the Leaves Came Down” by Susan Coolidge
ABABB
ABCAB
ABABA
ABAAB
Question 5:
I have looked o'er the hills of the stormy North,

And the larch has hung all his tassels forth;
The fisher is out on the sunny sea,
And the reindeer bounds o'er the pastures free,
-From “The Voice of Spring” by Felicia Hemans
AABB
ABAB
ABAC
ABBA
Lesson Topic: Identify and describe meter within a poem
Question 1:
Great is the palace with pillar and wall,

A sort of a tower on the top of it all,
And steps coming down in an orderly way
To where my toy vessels lay safe in the bay.
-From "Block City" by Robert Louis Stevenson
How many syllables are in the first line of this excerpt?
eight
nine
ten
eleven
Question 2:
Read the poem excerpt below. How many syllables are in the third line?
The splendour falls on castle walls

And snowy summits old in story:
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying, dying.
-From "The Princess" by Alfred Lord Tennyson
five
six
seven
eight
Question 3:
Read the poem excerpt below. How many syllables are in the fifth line?
The splendour falls on castle walls

And snowy summits old in story:
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying, dying.
-From "The Princess" by Alfred Lord Tennyson
seven
eight
ten
eleven
Question 4:
Read the poem excerpt below. How many syllables are in the fourth line?
The nautilus and the ammonite

Were launched in friendly strife,
Each sent to float in its tiny boat
On the wide, wide sea of life.
-From "The Nautilus and the Ammonite" by Anonymous
five
seven
eight
ten
Question 5:
Read the poem excerpt below. How many syllables are in the first line?
An oak and an elm tree stand beside,

And behind does an ash tree grow,
And a willow from the bank above
Droops to the water below.
-From "The Well of St. Keyne" by Robert Southey
six
seven
nine
twelve
Lesson Topic: Identify stressed and unstressed syllables in a poem
Question 1:
Read the line of poetry below. Which is the correct way to mark the stresses for this line?
That walked among the ancient trees
Question 2:
Darkness there and nothing more
Question 3:
Farewell, farewell! but this I tell

Question 4:
We were crowded in the cabin,
Question 5:
I wandered lonely as a cloud

Lesson Topic: Differentiate between lyric poetry and narrative poetry
Question 1:
Is this stanza more likely to represent lyric or narrative poetry?
The Dog is not of mountain breed;

Its motions, too, are wild and shy;
With something, as the Shepherd thinks,
Unusual in its cry:
Nor is there any one in sight
All round, in hollow or on height;
Nor shout, nor whistle strikes his ear;
What is the Creature doing here?
-From “Fidelity” by William Wordsworth
lyric poetry
narrative poetry
Question 2:
Pansies, Lilies, Kingcups, Daisies,

Let them live upon their praises;
Long as there's a sun that sets
Primroses will have their glory;
Long as there are Violets,
They will have a place in story:
There's a flower that shall be mine,
'Tis the little Celandine.
-From "To the Small Celadine" by William Wordsworth
lyric poetry
narrative poetry
Question 3:
Are these stanzas more likely to represent lyric or narrative poetry?
Wild was the night, yet a wilder night

Hung round the soldier's pillow;
In his bosom there waged a fiercer fight
Than the fight on the wrathful billow.
A few fond mourners were kneeling by,

The few that his stern heart cherished;
They knew, by his glazed and unearthly eye,
That life had nearly perished.
They knew by his awful and kingly look,

By the order hastily spoken,
That he dreamed of days when the nations shook,
And the nations' hosts were broken.
-From “The Death of Napoleon” by Isaac McClellan
lyric poetry
narrative poetry
Question 4:
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.
-From “Sonnet 18” by William Shakespeare
lyric poetry
narrative poetry
Question 5:
And the silken sad uncertain rustling of each purple curtain

Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visitor entreating entrance at my chamber door
Some late visitor entreating entrance at my chamber door;—
This it is, and nothing more."
-From “The Raven” by Edgar Allan Poe
lyric poetry
narrative poetry
Lesson Topic: Recognize sonnets and villanelles
Question 1:
Fair is my love, and cruel as she's fair;

Her brow shades frowns although her eyes are sunny;
Her smiles are lightning though her pride despair;
And her disdains are gall, her favours honey;
A modest maid, decked with a blush of honour,
Whose feet do tread green paths of youth and love;
The wonder of all eyes that look upon her,
Sacred on earth, designed a saint above.
Chastity and beauty, which were deadly foes,
Live reconcilèd friends within her brow;
And had she pity to conjoin with those,
Then who had heard the plaints I utter now?
O had she not been fair and thus unkind,
My Muse had slept and none had known my mind!
-From "Delia" by Samuel Daniel
Which type of poem is this?
villanelle
sonnet
ode
ballad
free-verse poem
Question 2:
Read the poem below. Which poetic form does this poem best represent?
Music to hear, why hear'st thou music sadly?

Sweets with sweets war not, joy delights in joy:
Why lov'st thou that which thou receiv'st not gladly,
Or else receiv'st with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering;
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing:
Whose speechless song being many, seeming one,
Sings this to thee: 'Thou single wilt prove none.'
-By William Shakespeare
sonnet
villanelle
none of the above
Question 3:
Child of the muses and the moon,

O nightingale, return and sing,
Thy song is over all too soon.
Let not night’s quire yield place to noon,

To this red breast thy tawny wing,
Child of the muses and the moon.
Sing us once more the same sad tune

Pandion heard when he was king,
Night after night thro’ leafy June

The starts were hush’d and listening,
Now new moons grow to plenilune

And wane, but no new music bring;
Ah, thou art weary! well, sleep on,

Sleep till the sun brings back the spring.
Thy song is over all too soon,
-"Love in Idleness" by Unknown
sonnet
villanelle
none of the above
Question 4:
The coach is at the door at last;

The eager children, mounting fast
And kissing hands, in chorus sing:
Goodbye, goodbye, to everything!
To house and garden, field and lawn,

The meadow-gates we swung upon,
To pump and stable, tree and swing,
And fare you well for evermore,

O ladder at the hayloft door,
O hayloft where the cobwebs cling,
Crack goes the whip, and off we go;

The trees and houses smaller grow;
Last, round the woody turn we swing:
-"Farewell to the Farm" by Robert Louis Stevenson
sonnet
villanelle
none of the above
Question 5:
"Men know but little more than we,

Who count us least of things terrene,
How happy days are made to be!
"Of such strange tidings what think ye,

O birds in brown that peck and preen?
Men know but little more than we!
"When I was borne from yonder tree

In bonds to them, I hoped to glean
How happy days are made to be,
"And want and wailing turned to glee;

Alas, despite their mighty mien
Men know but little more than we!
"They cannot change the Frost's decree,

They cannot keep the skies serene;
How happy days are made to be
"Eludes great Man's sagacity

No less than ours, O tribes in treen!
Men know but little more than we
How happy days are made to be."
-"The Caged Thrush Freed and Home Again" by Thomas Hardy
sonnet
villanelle
none of the above

Lesson Topic: Recognize odes, ballads, and free-verse poems
Question 1:
Rose, harsh rose,

marred and with stint of petals,
meagre flower, thin,
sparse of leaf,
more precious
than a wet rose
single on a stem—
you are caught in the drift.
Stunted, with small leaf,

you are flung on the sand,
you are lifted
in the crisp sand
that drives in the wind.
Can the spice-rose

drip such acrid fragrance
hardened in a leaf?
-"Sea Rose" by H. D.
What type of poem is this?
sonnet
free-verse poem
ballad
villanelle
ode
Question 2:
Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells.
-"To Autumn" by John Keats
Which poetic form does this excerpt best represent?
sonnet
villanelle
ode
ballad
free verse
Question 3:
The apparition of these faces in the crowd;

Petals on a wet, black bough.
-"In a Station of the Metro" by Ezra Pound
Which poetic form does this poem best represent?

sonnet
villanelle
ode
ballad
free verse
Question 4:
On Ship! New billows sweep thee out

Seaward. What wilt thou? Hold the port, be stout
See'st not thy mast
How rent by stiff Southwestern blast?
Thy side, of rowers how forlorn?

Thine hull, with groaning yards, with rigging torn,
Can ill sustain
The fierce, and ever fiercer main.
-From "The Ship of State" by Horace
sonnet
villanelle
ode
ballad
free verse
Question 5:
The wedding-guest sat on a stone,

He cannot choose but hear:
And thus spoke on that ancient man,
The bright-eyed Mariner.
The Ship was cheer'd, the Harbour clear'd—

Merrily did we drop
Below the Kirk, below the Hill,
Below the Lighthouse top.
-Adapted from "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge
sonnet
villanelle
ode
ballad
free verse
Lesson: Narrative Point of View
Lesson Topic: Determine the identity of the narrator
Question 1:
Remember, I am not recording the vision of a madman. The sun does not more certainly shine in the
heavens than that which I now affirm is true. Some miracle might have produced it, yet the stages of the
discovery were distinct and probable. After days and nights of incredible labour and fatigue, I succeeded in
discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation
upon lifeless matter.
I see by your eagerness and the wonder and hope which your eyes express, my friend, that you expect to
be informed of the secret with which I am acquainted; that cannot be; listen patiently until the end of my
story, and you will easily perceive why I am reserved upon that subject. I will not lead you on, unguarded and
ardent as I then was, to your destruction and infallible misery. Learn from me, if not by my precepts, at least
by my example, how dangerous is the acquirement of knowledge and how much happier that man is who
believes his native town to be the world, than he who aspires to become greater than his nature will allow.
-From Frankenstein by Mary Shelley
Who is the narrator in this passage and why is he or she addressing the reader?
Dr. Frankenstein, celebrating the key to bestowing (giving) animate life
the monster, declaring what a wonder it is to be given the gift of life
the monster, cautioning readers not to seek out their creator
Dr. Frankenstein, warning about the danger of scientific discovery
Question 2:
Identify the narrator in the passage below.
I am but a simple Fool, but I am loyal. So when my king ran, naked and crazed, onto the heath during a
terrible storm, I had to follow him.
"Your Highness! King Lear! You must return to safety and get out of this storm!" I shouted to him, but my
king did not seem to hear me.
"Blow, winds!" he cried at the storm, "and crack your cheeks! Rage! Blow!"
I was finally able to subdue him, and he fell to sobbing in my arms. "Oh, my loyal Fool. Is it you who is the
fool, or is it I? For I am a foolish old man! I have banished my loving daughter Cordelia and given to her
undeserving sisters my whole kingdom. And with my darling Cordelia I sent my one true and loyal supporter,
Kent, into exile. Fool, I should take your jester's hat and put it on my own head in place of this worthless
crown."
a Fool
King Lear
Cordelia
Kent
The narrator is not a character in this passage.
Question 3:
Sherlock Holmes rubbed his hands, and his eyes glistened. He leaned forward in his chair with an
expression of extraordinary concentration upon his clear-cut, hawk-like features.
"State your case," said he in brisk business tones.
I felt that my position was an embarrassing one.
"You will, I am sure, excuse me," I said, rising from my chair.
To my surprise, the young lady held up her gloved hand to detain me.
"Doctor Watson," she said, " if you would be good enough to stop, you may be of inestimable service to
me."
I collapsed into my chair.
-Adapted from The Sign of Four by Sir Arthur Conan Doyle
Doctor Watson
Sherlock Holmes
the young lady
Question 4:
"Well, you've really landed yourself in trouble this time, Red," I said to myself. I was standing in my
grandmother's kitchen, staring at some terrible creature. It was covered in coarse brown hair, had a long
snout, and was smiling in a way that was simultaneously unnerving and comical.
Whatever it was, it was wearing my grandmothers nightgown, bonnet, and lipstick.
"Hello, my dear," said the creature in my grandmother's clothes. "What a thoughtful girl, coming to visit your
dear old grandma."
"Yes, grandma," I said slowly. "And it has been too long since I saw you last. What large eyes you have! I
don't remember those from last time I saw you," I continued.
Red
the creature
grandma
Question 5:
You look in the eyepiece of the microscope and are astonished by what you see. Yesterday, the colony of
bacteria had been thriving. You could even see the microscopic organisms splitting in two as they continued to
breed.
Now, however, the colony looked dead. Here and there, a tiny bacteria slowly moved, and you could see
one or two trying to split. But most of them were dried up, brown and dead. What could have happened?
You call over your lab partner Ben to take a look, but he has no idea what happened either.
You
Ben
the bacteria

Lesson Topic: Identify first-person point of view
Question 1:
Which passage is written in first-person point of view?
Alice was not a bit hurt, and she jumped up on to her feet in a moment: she looked up, but
it was all dark overhead: before her was another long passage, and the White Rabbit was
still in sight, hurrying down it.
She had a little thin face and a little thin body, thin light hair and a sour expression. Her
hair was yellow, and her face was yellow because she had always been ill in one way or
another.
There was once a king of Athens whose name was Ægeus. He had no son; but he had
fifty nephews, and they were waiting for him to die so that one of them might be king in his
stead. They were wild, worthless fellows, and the people of Athens looked forward with
dread to the day when the city should be in their power.
I do not remember my first lie, it is too far back; but I remember my second one very well. I
was nine days old at the time, and had noticed that if a pin was sticking in me and I
advertised it in the usual fashion by crying, I was lovingly petted and coddled and pitied in
a most agreeable way.
Question 2:
There was a young girl in Greece whose name was Arachne. Her face was pale but fair,
and her eyes were big and blue, and her hair was long and like gold. All that she cared to
do from morn till noon was to sit in the sun and spin wool; and all that she cared to do
from noon till night was to sit in the shade and weave.
For two days Aladdin remained in the dark, crying and lamenting. At last he clasped his
hands in prayer, and in so doing rubbed the ring, which the magician had forgotten to take
from him. Immediately an enormous and frightful genie rose out of the earth.
It was dark and cold in the garden. Rain was falling. A damp, cutting wind was racing
about the garden, howling and giving the trees no rest. The lawyer strained his eyes, but
could see neither the earth nor the white statues, nor the trees.
There is a certain church in the city of New York which I have always regarded with
peculiar interest, on account of a marriage there solemnized, under very singular
circumstances, in my grandmother's girlhood.
Question 3:
In those early days I had already published one little thing in one newspaper, but I did not
consider that that counted. In my view, a person who published things in a mere
newspaper could not properly claim recognition as a Literary Person: he must rise away
above that; he must appear in a magazine.
Beneath the porch of the county-seat called Tanglewood, one fine autumnal morning, was
assembled a merry party of children, with a tall youth in the midst of them. They had
planned an expedition to gather nuts, and were impatiently waiting for the sun to pour the
warmth of the Indian summer over the fields and pastures.
The Mole had been working very hard all the morning, spring-cleaning his little home. First
with brooms, then with dusters; then on ladders and steps and chairs, with a brush and a
pail of whitewash; till he had dust in his throat and eyes, and splashes of whitewash all
over his black fur, and an aching back and weary arms.
When at some distance from the gathered people, the old man turned slowly round,
displaying a face of antique majesty, rendered doubly venerable by the gray beard that
descended on his breast. He made a gesture at once of encouragement and warning,
then turned again, and resumed his way.
Question 4:
Read the passage below. Which excerpt best shows that the passage is written in first-person point of view?
He was not studying medicine. He had himself, in reply to a question, confirmed Stamford's opinion upon
that point. Neither did he appear to have pursued any course of reading which might fit him for a degree in
science or any other recognized portal which would give him an entrance into the learned world. Yet his zeal
for certain studies was remarkable, and within eccentric limits his knowledge was so extraordinarily ample and
minute that his observations have fairly astounded me. Surely no man would work so hard or attain such
precise information unless he had some definite end in view. Desultory readers are seldom remarkable for the
exactness of their learning. No man burdens his mind with small matters unless he has some very good reason
for doing so.
His ignorance was as remarkable as his knowledge. Of contemporary literature, philosophy and politics he
appeared to know next to nothing. Upon my quoting Thomas Carlyle, he inquired in the naivest way who he
might be and what he had done. My surprise reached a climax, however, when I found incidentally that he was
ignorant of the Copernican Theory and of the composition of the Solar System. That any civilized human being
in this nineteenth century should not be aware that the earth travelled round the sun appeared to be to me
such an extraordinary fact that I could hardly realize it.
-Adapted from A Study In Scarlet by Sir Arthur Conan Doyle
Desultory readers are seldom remarkable for the exactness of their learning.
Neither did he appear to have pursued any course of reading which might fit him for a
degree in science
His ignorance was as remarkable as his knowledge.
I found incidentally that he was ignorant of the Copernican Theory
Question 5:
Read the passage below. Which excerpt best shows that the passage is written in first-person point of view?
Last spring I went out to Chicago to see the Fair, and although I did not see it my trip was not wholly lost—
there were compensations. In New York I was introduced to a Major in the regular army who said he was going
to the Fair, and we agreed to go together. I had to go to Boston first, but that did not interfere; he said he
would go along and put in the time. He was a handsome man and built like a gladiator. But his ways were
gentle, and his speech was soft and persuasive. He was companionable, but exceedingly reposeful. Yes, and
wholly destitute of the sense of humour. He was full of interest in everything that went on around him, but his
serenity was indestructible; nothing disturbed him, nothing excited him.
But before the day was done I found that deep down in him somewhere he had a passion, quiet as he was
—a passion for reforming petty public abuses. He stood for citizenship—it was his hobby. His idea was that
every citizen of the republic ought to consider himself an unofficial policeman, and keep unpaid watch and
ward over the laws and their execution. He thought that the only effective way of preserving and protecting
public rights was for each citizen to do his share in preventing or punishing such infringements of them as
came under his personal notice.
-Adapted from "Travelling with a Reformer" by Mark Twain
He was full of interest in everything that went on around him, but his serenity was
indestructible
His idea was that every citizen of the republic ought to consider himself an unofficial
policeman
But before the day was done I found that deep down in him somewhere he had a passion
He was a handsome man and built like a gladiator. But his ways were gentle, and his
speech was soft and persuasive.
Lesson Topic: Identify third-person point of view
Question 1:
Which passage is written in a third-person point of view?
For a space they scanned the great expanse below them with eager eyes. It spread
remoter and remoter, with only a few clusters of thorn bushes here and there, and the dim
suggestions of some now waterless ravine, to break its desolation of yellow grass.
They were not railway children to begin with. I don't suppose they had ever thought about
railways except as a means of getting to Maskelyne and Cook's, the Pantomime,
Zoological Gardens, and Madame Tussaud's.
If the man with the beard had given me a dollar I should have kept it as a memento of a
rather curious affair. But the consciousness of having done my duty was my only reward.
I guess looking at it now my old man was cut out for a fat guy, one of those regular little
roly fat guys you see around, but he sure never got that way, except a little toward the
last, and then it wasn't his fault, he was riding over the jumps only and he could afford to
carry plenty of weight then.
Question 2:
The crowd grew steadily. By 10 o'clock there were forty applicants. Some of the men were
humming, others talking among themselves. The stout man tried to whistle, but his lips
wouldn't pucker. He stood on one foot, then the other.
Reader! are you with the slavers in sympathy and purpose, or on the side of their down-
trodden victims? If with the former, then are you the foe of God and man. If with the latter,
what are you prepared to do and dare in their behalf?
From the time of my marriage to this day the love I have borne my wife has been sincere
and unabated; and only those who have felt the glowing tenderness a father cherishes for
his offspring, can appreciate my affection for the beloved children which have since been
born to us.
After dinner you can go anywhere on the subway for four cents in American money or take
a bus to the farthest part of the city for the same amount. It sounds unbelievable but it is
simply a case of prices not having advanced in proportion to the increased value of the
dollar.
Question 3:
I was born in Tuckahoe, near Hillsborough, in Talbot county, Maryland. I have no accurate
knowledge of my age. By far the larger part of the slaves know as little of their ages as
horses know of theirs, and I do not remember to have ever met a slave who could tell of
his birthday.
To begin my life with the beginning of my life, I record that I was born (as I have been
informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the
clock began to strike, and I began to cry, simultaneously.
The appearance of our visitor was a surprise to me, since I had expected a typical country
practitioner. He was a very tall, thin man, with a long nose like a beak, which jutted out
between two keen, gray eyes, set closely together and sparkling brightly from behind a
pair of gold-rimmed glasses.
In that same month of February, Dawson's Landing gained a new citizen. This was Mr.
David Wilson, a young fellow of Scotch parentage. He had wandered to this remote region
from his birthplace in the interior of the State of New York, to seek his fortune.
Question 4:
Read the passage below. Which excerpt best shows that the passage is written in third-person point of view?
When the moon has a green rim with red meat inside and black seeds on the red meat, then in the
Rootabaga Country they call it a Watermelon Moon and look for anything to happen.
It was a night when a Watermelon Moon was shining. Lizzie Lazarus came to the upstairs room of the
Potato Face Blind Man. Poker Face the Baboon and Hot Dog the Tiger were with her. She was leading them
with a pink string.
“You see they are wearing pajamas,” she said. “They sleep with you to-night and to-morrow they go to
work with you like mascots.”
“How like mascots?” asked the Potato Face Blind Man.
“They are luck bringers. They keep your good luck if it is good. They change your bad luck if it is bad.”
“I hear you and my ears get your explanations.”
So the next morning when the Potato Face Blind Man sat down to play his accordion on the corner
nearest the postoffice in the Village of Liver-and-Onions, next to him on the right hand side sitting on the
sidewalk was Poker Face the Baboon and on the left hand side sitting next to him was Hot Dog the Tiger.
-Adapted from Rootabaga Stories by Carl Sandberg

They sleep with you to-night and to-morrow they go to work with you like mascots.
They keep your good luck if it is good.
Lizzie Lazarus came to the upstairs room of the Potato Face Blind Man.
I hear you and my ears get your explanations.
Question 5:
Read the passage below. Which excerpt best shows that the passage is written in third-person point of view?
As they entered they saw Dorian Gray. He was seated at the piano, with his back to them, turning over
the pages of a volume of Schumann's "Forest Scenes." "You must lend me these, Basil," he cried. "I want to
learn them. They are perfectly charming."
"That entirely depends on how you sit to-day, Dorian."
"Oh, I am tired of sitting, and I don't want a life-sized portrait of myself," answered the lad, swinging round
on the music-stool in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured
his cheeks for a moment, and he started up. "I beg your pardon, Basil, but I didn't know you had any one with
you."
"This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. I have just been telling him what a
capital sitter you were, and now you have spoiled everything."
"You have not spoiled my pleasure in meeting you, Mr. Gray," said Lord Henry, stepping forward and
extending his hand. "My aunt has often spoken to me about you. You are one of her favourites, and, I am
afraid, one of her victims also."
-Adapted from The Portrait of Dorian Grey by Oscar Wilde
He was seated at the piano, with his back to them
Oh, I am tired of sitting, and I don't want a life-sized portrait of myself
I beg your pardon, Basil, but I didn't know you had any one with you.
You have not spoiled my pleasure in meeting you, Mr. Gray

Lesson Topic: Identify third-person limited and third-person omniscient point of view
Question 1:
Is the following passage written in a third-person limited or third-person omniscient point of view?
The way led along upon what had once been the embankment of a rail-road. But no train had run upon it
for many years. The forest on either side swelled up the slopes of the embankment and crested across it in a
green wave of trees and bushes. The trail was as narrow as a man's body, and was no more than a wild-
animal runway. Occasionally, a piece of rusty iron advertised that the rail and the ties still remained. In one
place, a ten-inch tree, bursting through at a connection, had lifted the end of a rail clearly into view. The tie
had evidently followed the rail, held to it by the spike long enough for its bed to be filled with gravel and rotten
leaves, so that now the crumbling, rotten timber thrust itself up at a curious slant. Old as the road was, it was
manifest that it had been of the monorail type.
An old man and a boy travelled along this runway. They moved slowly, for the old man was very old, a
touch of palsy made his movements tremulous, and he leaned heavily upon his staff. A rude skull-cap of
goat-skin protected his head from the sun. From beneath this fell a scant fringe of stained and dirty-white
hair. A visor, ingeniously made from a large leaf, shielded his eyes, and from under this he peered at the way
of his feet on the trail. His beard, which should have been snow-white but which showed the same weather-
wear and camp-stain as his hair, fell nearly to his waist in a great tangled mass. About his chest and
shoulders hung a single, mangy garment of goat-skin.
The boy, who led the way, checking the eagerness of his muscles to the slow progress of the elder,
likewise wore a single garment—a ragged-edged piece of bear-skin, with a hole in the middle through which
he had thrust his head. He could not have been more than twelve years old. In one hand he carried a
medium-sized bow and an arrow.
-Adapted from The Scarlet Plague by Jack London
third-person limited
third-person omniscient
Question 2:
Is the following passage written in a third-person limited or third-person omniscient point of view?
Poor Rip Van Winkle was at last reduced almost to despair; and his only alternative, to escape from the
labor of the farm and clamor of his wife, was to take gun in hand and stroll away into the woods. Here he
would sometimes seat himself at the foot of a tree, and share the contents of his wallet with his dog Wolf,
with whom he sympathized as a fellow-sufferer in persecution. "Poor Wolf," he would say, "thy mistress leads
thee a dog's life of it; but never mind, my lad, whilst I live thou shalt never want a friend to stand by thee!"
In a long ramble of the kind on a fine autumn day, Rip had unconsciously scrambled to one of the highest
parts of the Catskill Mountains. He was after his favorite sport of squirrel shooting, and the still solitudes had
echoed and re-echoed with the reports of his gun. Panting and fatigued, he threw himself, late in the
afternoon, on a green knoll. From an opening between the trees he could overlook all the lower country for
many a mile of rich woodland. He saw at a distance the lordly Hudson River, far, far below him, moving on its
silent but majestic course, with the reflection of a purple cloud, or the sail of a lagging boat, here and there
sleeping on its glassy bosom, and at last losing itself in the blue highlands.
-Adapted from "Rip Van Winkle" by Washington Irving
third-person limited
third-person omniscient
Question 3:
Which passage uses third-person limited point of view?
In a small lean-to out in the Alaskan taiga, Terri Marks tossed and turned in her sleep. She
was haunted by terrible dreams of some unknown, shapeless beast stalking her down a
narrow corridor. Meanwhile, at the edge of the Australian Outback, Cathy Namatjira was
struggling with her own nightmares of a shapeless beast.
The shrill buzzing of the bell announced the end of the school year, and the class erupted
in cheers and celebrations. Mr. Hetchler wished them all a good summer, and the class
streamed out of the hot classroom into the beautiful June afternoon. Some went straight to
the pool, while others returned to their homes, or went to a movie, or played soccer in the
park.
Glynn walked purposefully down the narrow catwalk that connected the control tower to
the rocket. His hands gripped a small computer that was attached to his flight suit by a
thick bundle of cables. Taking the elevator up here, he had been nervous. Now, though,
his hands were perfectly still. He was ready.
The waves boiled and frothed around the terrible gaping maw of Charybdis, the massive
whirlpool. Our brave captain, Odysseus, steered our trireme away from the certain death
of that whirlpool, choosing instead to brave the grasping claws of the monstrous Scylla.
Question 4:
Which passage uses third-person limited point of view?

It was the third of August, if I recall correctly, when I first met the remarkable explorer Allan
Quartermain. I was deep in the darkest Africa, attempting to find the source of the Nile,
when out of the jungle came a rather regal looking gentleman who appeared to have gone
somewhat native.
The bell gives a slight jingle as you push open the door to the new shop on Main Street
and Broadway. It's a storefront filled with a variety of odds-and-ends. A black cat comes
up to greet you as you walk slowly through the claustrophobic aisles. The owner appears
to be the only other person in the store.
Mikhail and Alyosha, two brothers, saw each other but once a year—and even that was
under protest. Their father, disgusted with their boyish feud, demanded that each be
present for his birthday dinner, and neither man would dare disobey the will of their
family's patriarch.
Rachel glanced off the edge of the cliff and felt her stomach drop. It was easily 100 meters
straight down the white, chalky cliffs to the sea below. She quickly scrambled back to safer
ground. It would be some time before she could work up the courage to step near the
edge again.
Question 5:
Which passage uses third-person omniscient point of view?
Snorri paused with his quill in his hand. The candle's flame flickered in a sudden blast of
chill air that came through the rock wall of the great Elsinore castle in Denmark, and Snorri
pulled the blanket tighter around his shoulders. The next line of his epic poem was giving
him a tremendous amount of trouble, but he was confident that he could overcome his
writer's block before the cock crowed.
The paint is hardly dry on the canvas when you apply the next coat. You are under
tremendous pressure to complete this painting on time, for the great Doge of Venice is not
a person who will accept excuses for tardy delivery of this commission. This enormous
painting of the great thinkers of ancient Greece will cement your legacy as a master
painter. . . if you can complete it in time.
"And cut!" the director called. He turned to his camera man, letting the actors do whatever
they wanted. "How was that shot? I thought Suzanne's acting was incredible. . . did you
capture the glistening in her eyes at the end?" The cameraman shrugged, and the director
continued: "Well, we're a little ahead of schedule. We'll do one more take, then move on to
the next shot."
Inside the besieged city, the great emperor Palaeologus strapped on his armor. His
advisers wanted him to flee, but he had refused their advice. He was the emperor; if he
did not fight in defense of his city, he was not worthy of the title. Constance, the emperor's
aid, fought back tears. He was immensely proud of his lord and was heartbroken to see
him prepared to die.
Lesson Topic: Identify all points of view
Question 1:
Identify the point of view of the passage below.
The Story of the Rabbits
The Rabbit nation were very much depressed in spirits on account of being run over by all other nations.
They, being very obedient to their chief, obeyed all his orders to the letter. One of his orders was, that upon
the approach of any other nation, they should follow the example of their chief and run up among the rocks
and down into their burrows, and not show themselves until the strangers had passed.
This they always did. Even the chirp of a little cricket would send them all scampering to their dens.
One day they held a great council, and after talking over everything for some time, they finally left it to
their medicine man to decide. The medicine man arose and said:
"My friends, we are of no use on this earth. There isn't a nation on earth that fears us, and we are so timid
that we cannot defend ourselves, so the best thing for us to do is to rid the earth of our nation, by all going
over to the big lake and drowning ourselves."
This they decided to do; so going to the lake they were about to jump in, when they heard a splashing in
the water. Looking, they saw a lot of frogs jumping into the lake.
"We will not drown ourselves," said the medicine man, "we have found a nation who are afraid of us. It is
the frog nation." Had it not been for the frogs we would have had no rabbits, as the whole nation would have
drowned themselves and the rabbit race would have been extinct.
-Adapted from a traditional Lakota Sioux folk tale
first-person point of view
third-person limited point of view
third-person omniscient point of view
Question 2:
Identify the point of view of the passage below.
Within stood a tall old man, clean-shaven save for a long white mustache, and clad in black from head to
foot, without a single speck of color about him anywhere. He held in his hand an antique silver lamp, in which
the flame burned without a chimney or cover of any kind, throwing long quivering shadows as it flickered in
the draft of the open door. The old man motioned me in with his right hand with a courtly gesture, saying in
excellent English, but with a strange intonation: "Welcome to my house! Enter freely and of your own free
will!"
He made no motion of stepping to meet me, but stood like a statue, as though his gesture of welcome
had fixed him into stone. The instant, however, that I had stepped over the threshold, he moved impulsively
forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was
not lessened by the fact that it seemed cold as ice, more like the hand of a dead than a living man.
-Adapted from Dracula by Bran Stoker
first-person point of view
third-person limited point of view
third-person omniscient point of view
Question 3:
Which passage is written using a third-person omniscient point of view?
On the shore of a lake stood an artichoke with its green leaves waving in the sun. Very
proud of itself it was, and well satisfied with the world. In the lake below lived a muskrat,
and in the evening as the sun set he would come out upon the shore and wander over the
bank.
In the library I found, to my great delight, a vast number of English books, whole shelves
full of them, and bound volumes of magazines and newspapers. Whilst I was looking at
the books, the door opened, and the Count entered. He saluted me in a hearty way, and
hoped that I had had a good night's rest.
She crept along trembling with cold and hunger—a very picture of sorrow, the poor little
thing! The flakes of snow covered her long fair hair, which fell in beautiful curls around her
neck; but of that, of course, she never once now thought.
Mr. Editor,—If you ever read the Alumni Newsletter (which you will find among your letters,
as the editor publishes your prospectus for six weeks every year, and sends it to you, free
of charge) my name will not be that of a stranger.
Question 4:
Which passage is written using a third-person limited point of view?

When I was a child I thought that this place was called Moonfleet, because on a still night,
whether in summer, or in winter frosts, the moon shone very brightly on the lagoon; but I
learned afterwards that it was short for 'Mohune-fleet,' from the Mohunes, a great family
who were once lords of all these parts.
The Professor's face was set, and he stood, watch in hand, with his eyes fixed now on the
patient and now on Arthur. I could hear my own heart beat. Presently, he said in a soft
voice, "That is enough. You attend him. I will look to her."
The next day it was a sharp frost—and then the spring came; the sun shone, the green
leaves appeared, the swallows built their nests, the windows were opened, and little
children all over the city played in the pretty gardens throughout the town.
Eli Mitchenor was at peace with himself and the world—that is, so much of the world as he
acknowledged. Beyond the community of his own sect, and a few personal friends, he
neither knew nor cared to know much more of the human race than if it belonged to a
planet farther from the sun.
Question 5:
Which passage is written using a first-person point of view?
There was trouble one day in the palace of Prince Alexis, of Kinesma. This edifice, with its
massive white walls, and its pyramidal roofs of green copper, stood upon a gentle mound
to the eastward of the town, overlooking it, a broad stretch of the Volga, and the opposite
shore.
"Sire," said the strange merchant, prostrating himself as he spoke, "although I make my
appearance so late before your Highness, I can confidently assure you that none of the
wonders you have seen during the day can be compared to this horse, if you will deign to
cast your eyes upon him."
The preparations made for this important journey were very simple. A knapsack was filled
with food and given to Woot the Wanderer to carry upon his back, for the food was for his
use alone.
It was the first time I realized that the Martians might have any other purpose than the
total destruction of humanity. We stood for a moment petrified, then turned and fled
through a gate behind us into a walled garden, fell into a fortunate ditch, and lay there,
scarce daring to whisper to each other until the stars were out.
Lesson: Point of View
Lesson Topic: Distinguish between narrative point of view and point of view
Question 1:
David Mitchell's Cloud Atlas is a soaring epic. Told from the point of view of eleven different characters, the
plot arc of the novel spans from hundreds of years in the past to thousands of years into the future.
Is the phrase point of view being used to mean narrative point of view or simply point of view?
narrative point of view
point of view
none of the above
Question 2:
If someone says that a poem was written from a second-person point of view, which point of view are they
referring to?
point of view
none of the above
Question 3:
If someone says that the narrator has a positive point of view on his teacher, which point of view are they
referring to?
point of view
none of the above
Question 4:
Determine if the phrase point of view is being used to mean narrative point of view or simply point of view.
Ms. Rosas wants us to write a story that focuses on the main character's point of view about a real-life
problem.
point of view
none of the above
Question 5:
Determine if the phrase point of view is being used to mean narrative point of view or simply point of view.
The editor read over the author's rough draft and returned it covered with suggestions and annotations. At
the top of the first page the editor had written, "I'm not convinced this needs to be in first-person point of
view. Perhaps try using third-person?"
point of view
none of the above

Lesson Topic: Understand how dialogue, thoughts, and actions develop point of view
Question 1:
Read the passage below. Which part of the passage tells the Skin Horse's opinion about what it means to be
Real?
The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat
was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out
to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast
and swagger, and by-and-by break their mainsprings and pass away, and he knew that they were only toys,
and would never turn into anything else. For nursery magic is very strange and wonderful, and only those
playthings that are old and wise and experienced like the Skin Horse understand all about it.
"What is Real?" asked the Rabbit one day, when they were lying side by side near the nursery fender,
before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out
handle?"
"Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves
you for a long, long time, not just to play with, but really loves you, then you become Real."
"Does it hurt?" asked the Rabbit.
"Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being
hurt."
"Does it happen all at once, like being wound up," he asked, "or bit by bit?"
"It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it
doesn't often happen to people who break easily, or have sharp edges, or who have to be carefully kept.
Generally, by the time you are Real, most of your hair has been loved off and your eyes drop out and you get
loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't
be ugly, except to people who don't understand."
-Adapted from The Velveteen Rabbit by Margery WIlliams
Generally, by the time you are Real, most of your hair has been loved off and your eyes
drop out
Does it mean having things that buzz inside you and a stick-out handle?
He was so old that his brown coat was bald in patches and showed the seams underneath
When you are Real you don't mind being hurt.

Question 2:
What do Scrooge's actions in this passage tell you about his point of view about Marley?
Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker and the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-
nail.
Mind you, I don't mean to say that I know, of my own knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in
the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or
the country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a
door-nail.
Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners
for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his
sole residuary legatee, his sole friend and sole mourner.
Scrooge never painted out old Marley's name. There it stood, years afterwards, above the warehouse
door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the
business called Scrooge Scrooge, and sometimes Marley, but he never minded. It was all the same to him.
-Adapted from A Christmas Carol by Charles Dickens
Scrooge was dissatisfied with Marley.
Scrooge did not particularly care about Marley.
Scrooge wanted to help Marley's family.
Scrooge respected Marley.
Question 3:
What do Tom's words tell you about his point of view on the rich?
Tom asked, "Do you know Robin Hood, Huck?"

"No. Who's Robin Hood?"
"Why, he was one of the greatest men that was ever in England—and the best. He was a robber."
"Cracky, I wisht I was. Who did he rob?"
"Only sheriffs and bishops and rich people and kings, and such like. But he never bothered the poor. He
loved 'em. He always divided up with 'em perfectly square."
"Well, he must 'a' been a brick."
"I bet you he was, Huck. Oh, he was the noblest man that ever was. They ain't any such men now, I can
tell you. He could lick any man in England, with one hand tied behind him; and he could take his yew bow
and plug a ten-cent piece every time, a mile and a half."
"What's a yew bow?"
"I don't know. It's some kind of a bow, of course. And if he hit that dime only on the edge he would set
down and cry—and curse. But we'll play Robin Hood—it's nobby fun. I'll learn you."
"I'm agreed."
So they played Robin Hood all the afternoon, now and then casting a yearning eye down upon the
haunted house and passing a remark about the morrow's prospects and possibilities there. As the sun began
to sink into the west they took their way homeward athwart the long shadows of the trees and soon were
buried from sight in the forests of Cardiff Hill.
-Adapted from The Adventures of Tom Sawyer by Mark Twain.
Tom empathizes with rich people.
Tom respects the work rich people do.
Tom does not like rich people.
Tom wishes he was rich.
Question 4:
What do Melody's thoughts tell you about her point of view on life in the orphanage?
Melody knocked tentatively on the old wooden door. Without bothering to open it, the old woman
snapped, “Yes? Who is it? What do you want? Well, come in!”
Melody hesitated for a fraction of a second, then slowly pushed the door open. Madame Flint was seated
behind a large desk covered with papers. She had a pair of reading glasses perched at the edge of her nose,
which she now looked over to stare at Melody.
“Ah, Melody. I thought you’d come here sooner or later. Well, what is it?”
“Madame… Madame Flint, please forgive me if I am out of line, but you must know that the girls you
praise have it harder than any of the others! And you have been praising and rewarding me all day. What
have I done to anger you? What can I do to make amends?”
A warm smile slowly broke out across Madame Flint’s usually stony face. “You certainly are much smarter
than the other girls. Braver, too, coming to see me like this. I knew I had picked the right person.” Melody
stared at her in confusion. “You see, Melody, a few days ago a gentleman came looking for a governess to
care for his children. He told me that the right person would be intelligent and have a strong will. His children,
it seems, have driven away a handful of other governesses. So I had to make sure the girl I chose would be
able to put up with naughty children. If you do not object, I will recommend you for the position.”
Melody’s head swam. A real job? Away from the orphanage? The idea was staggering. No one as young
as she was had been given that opportunity yet.
She is frightened to leave the orphanage.
She has many friends in the orphanage.
She does not like living in the orphanage.
She will miss Madame Flint when she leaves the orphanage.
Question 5:
What do the actions of the sprite Ariel tell you about Prospero's of Caliban?
The sorcerer Prospero and his daughter Miranda lived on an island in a cave or cell, made out of a rock; it
was divided into several apartments, one of which Prospero called his study; there he kept his books, which
chiefly treated of magic, a study at that time much affected by all learned men: and the knowledge of this art
he found very useful to him; for being thrown by a strange chance upon this island, which had been
enchanted by a witch called Sycorax, who died there a short time before his arrival, Prospero, by virtue of his
art, released many good spirits that Sycorax had imprisoned in the bodies of large trees, because they had
refused to execute her wicked commands. These gentle spirits were ever after obedient to the will of
Prospero. Of these Ariel was the chief.
The lively little sprite Ariel had nothing mischievous in his nature, except that he took rather too much
pleasure in tormenting an ugly monster called Caliban, for he owed him a grudge because he was the son of
his old enemy Sycorax. This Caliban, Prospero found in the woods, a strange misshapen thing, far less
human in form than an ape: he took him home to his cell, and taught him to speak; and Prospero would have
been very kind to him, but the bad nature which Caliban inherited from his mother Sycorax, would not let him
learn anything good or useful: therefore he was employed like a slave, to fetch wood, and do the most
laborious offices; and Ariel had the charge of compelling him to these services.
When Caliban was lazy and neglected his work, Ariel (who was invisible to all eyes but Prospero's) would
come slyly and pinch him, and sometimes tumble him down in the mire; and then Ariel, in the likeness of an
ape, would make mouths at him. Then swiftly changing his shape, in the likeness of a hedgehog, he would lie
tumbling in Caliban's way, who feared the hedgehog's sharp quills would prick his bare feet. With a variety of
such-like vexatious tricks Ariel would often torment him, whenever Caliban neglected the work which
Prospero commanded him to do.
-Adapted from "The Tempest" in Tales from Shakespeare by Charles Lamb
Prospero pities his servant Caliban.
Prospero lets his servant Caliban do whatever he wants.
Prospero does not trust his servant Caliban.
Prospero hopes to improve his servant Caliban.

Lesson Topic: Compare and contrast different characters' points of view
Question 1:
Read the following passage. As you read, pay attention to the perspectives of the various characters—Ibn
Batutta, Uzbeg Khan, Yuri, and the other Rus people.
An Excerpt from the Travels of Ibn Batutta, Explorer
Ibn Battuta was a famous Muslim explorer and adventurer in the 14th century. His descriptions of his
journeys all over Asia, Africa, and the Middle East are famous for their precise descriptions of the people and
places he visited. The following is a fictional account of his journey in southern Russia.
March 15, 1333

Finally, it came time to leave the luxuries of the great tent city of the Golden Hoard. Uzbeg Khan, the fierce
but clever ruler of these people, gave me many fine parting gifts. I was once more astonished that men who
rode horses all day and had no permanent houses could create such beautiful silk or have access to so much
gold. Many of the nobles in glorious Damascus would be astonished to learn that these rough people of the
steppe were so rich and happy.
As I departed, Uzbeg Khan gave me a final word of advice. “Travel far to the east and receive a warm
welcome in rich China, ruled by my cousins,” he said. “Travel to the west and visit glorious Constantinople,
ruled by the Christians. Or travel south back to your own lands. But journey north at your own risk. The people
there are cruel and barbarous. They would sooner kill and rob you than invite you into their rough homes.”
I thanked him for his advice, although I knew I would ignore it. I was an explorer in my heart, and I knew I
would journey to the north and try to meet these savage people.
March 20, 1333

A fierce storm raged last night. I awoke in the dark to find my tent about to blow away! Luckily, I was able to
salvage it, but my clothes were now soaking wet. I hung them off the back of my horse to dry in the sun.
Earlier this afternoon, I came across a great mass of horse prints. Clearly, some people passed this way
sometime after the storm last night. My hope was that this was a sign of the savage and wild people Uzbeg
Khan warned me about. I will keep my guard up and hope to make contact with them. But with Uzbeg Khan’s
warnings, I fear that it will not be a peaceful encounter.
March 30, 1333

Much has happened since last I wrote! My ink, pen, and journals have finally been returned to me, and I
struggle now to record accurately all that has happened in the past few eventful days.
Early in the morning of March 21st, as I was finishing packing my camp, I suddenly heard the sound of
galloping horses. A band of fifty or so armed and armored men was riding straight towards me. The Golden
Horde of Uzbeg Khan had looked ferocious, but they seemed as civilized as our own scholars in Baghdad
compared to these demons riding towards me. Where Uzbeg Khan and his people wore trimmed and
fashionable mustaches, these wild men wore long, filthy beards. They held large swords and bows in their filthy
hands. Quickly, they surrounded me, and their leader approached.
I bowed low to the man. I spoke in first Arabic, and then Persian, Greek, and a dozen other languages.
Nothing seemed to work until I spoke a variation of the speech I had heard the common people of the Golden
Horde use. The rider recognized this speech, and we slowly were able to talk with each other.
He told me that his name was Yuri, that he was a leader of the Rus people, and that I was now his prisoner.
I was taken aback at the boldness of his claim and the bluntness of his speech, but since he had 50 armed
men with him and I had only my horse and my sword, I agreed that I was his prisoner.
Yuri took me to the village he ruled over, and I have rarely seen such a poor place, not even in the slums of
Marrakesh. The people lived in crude wooden shacks next to a half-frozen river. Even in the frigid air, the
children ran around with hardly any clothing. In the center of this village stood a large, long house, as crude as
all the others, and it was to this place that the warriors returned. I, however, was thrown in a pen with a few
hungry pigs, where I passed a very unpleasant night. These people took better care of their horses than they
did of me!
The next day, Yuri took me around the village to show me the rest of it, and it was as I have already
described it to you. Clearly, these people were not the bloodthirsty savages that Uzbeg Khan had warned me
of, but they were little more than primitive villagers barely surviving on the steppe. Or so I initially thought.
I asked Yuri why he had not killed me on sight.
He laughed. “We do not do such things. Why kill useful men and women? We can put you to work!” He
paused for a second. “Also, you intrigue me. You speak many languages and write things down in books. I am
as interested in you as you must be in me.” That was my first clue that the Rus people were more than what
they seemed.
The following day, March 20th, a poorly clothed young girl of the camp became sick. I have seen many
illnesses in my travels, but I could not determine what afflicted her.
An old man took the girl into the main lodge, and all the warriors gathered around outside. Inside, the girl’s
parents, Yuri, and the old man sat over her. I was privileged to see it. The old man beat on a small hand drum
and chanted in a strange way. He seemed able to make two sounds at once. One came from his mouth, and
the other seemed to come from his throat. The old man soon fell into a trance, and the parents and Yuri
continued to chant. This went on for hours.
I had begun to think that the old man had fallen asleep when he suddenly opened his eyes. “I have seen
the spirit afflicting this child, and bested it. You must brew a tea with the herbs I will give you. Make sure she
gets plenty of rest and drinks the tea three times a day. That will keep the spirit away.”
I knew from my travels and studies that spirits do not cause disease, and I assumed this was simply some
witch-doctor. However, when the child drank the tea she did seem to get better. Within a few days, she was up
and running around like she had never been sick. I have never seen such a sudden or miraculous recovery.
May 15, 1333

The rest of my time with the Rus was similarly eye-opening. While they clearly lived rough and difficult lives,
without any of the comforts that we are used to, they seemed happy. They knew how to live on the steppe, and
their mastery over the healing arts was far superior to our own.
It was with sadness then that I bid farewell to Yuri and his people. After getting to know me, Yuri allowed me
to go. In fact, he insisted on it. “A man such as yourself should not be kept imprisoned here in my small village
on the steppe,” he said. “You should continue to explore, and tell the people of the far reaches of the world.”
So I set off to the south and west, aiming towards the great Christian city of Constantinople.
Question 2:
Which two characters have a the most similar point of view about the Rus people at the beginning of the story?
Ibn Batutta and Yuri
the Rus healer and Uzbeg Khan
Ibn Batutta and Uzbeg Khan
Yuri and Uzbeg Khan
Question 3:
How do Ibn Batutta and the Rus peoples' point of views differ?
The Rus people believe in keeping slaves, while Ibn Batutta does not.
The Rus people believe that they should fight all their neighbors, while Ibn Batutta does
not.
The Rus people believe in medicine, while Ibn Batutta does not.
The Rus people believe that spirits cause disease, while Ibn Batutta does not.
Question 4:
Which character undergoes the biggest change in his or her perspective?
Ibn Battuta
Uzbeg Khan
the Rus healer

Yuri
Question 5:
What caused Ibn Batutta to change his perspective on the Rus people?
living with the Rus people
participating in ceremonies of the Rus people
speaking with others about the Rus people
learning the history of the Rus people

Lesson: Characterization
Lesson Topic: Contrast flat and round characters
Question 1:
Read the following short story. As you do, pay attention to whether the characters are flat characters or round
characters.
Their Own World of Fun

By Abigail Stewart
“Three hundred twelve, three hundred thirteen, three hundred fourteen dollars,” Richie counted. “We’ve
almost reached our goal. I bet we can get to four hundred by the end of the month.”
“We’ll be headed to FunWorld in no time!” exclaimed Marge.
“Let’s take a look at the schedule to see where we’re at.”
For the past few months, Richie and Marge had been operating a successful babysitting business around
their apartment building. There were several families with young children, so they could usually pick up jobs
every weekend. Their plan was to save up enough money for the big end-of-the-year field trip to FunWorld.
“Let me see,” said Marge. “Looks like you’ve got the Hendersons this Saturday, and I have the Murphys on
Sunday.”
“Those are safe bets. They usually pay pretty well,” said Richie, stroking his chin. “But if we’re going to raise
enough money in time, we really need to step it up. We should be working both days each weekend.”
“Definitely,” agreed Marge. “The money is due in five weeks, so we can’t afford to waste time. Why don’t we
call up a few of our usual clients and see if they need anything?”
She clicked around on her laptop and brought up their contact list.
“I’ll take the first half of the list. You start down here with the Nelsons.”
For the next fifteen minutes, Marge and Richie went through their lists, calling up anyone they thought might
need a babysitter. Although most of the clients were happy to hear from them, they didn’t seem to need
anyone that weekend.
As Richie reached the bottom of his list, he sighed. “The Whartons. Probably no point in calling them.”
“What do you mean?” asked Marge.
“Ms. Wharton only pays three dollars an hour, and she has two kids. Plus, they only have basic cable, so it’s
so boring to babysit at their house.”
“Yeah, but they’re good kids,” insisted Marge. “And three dollars and hour is more than we’d make sitting
around here.”
“Fine,” said Richie. “If you want to call, go for it.”
Marge picked up the phone and punched in the number for Ms. Wharton.
After four rings, Ms. Wharton picked up the phone, sounding flustered: “Hello? Marge? Is something
wrong?”
“Oh, no, Ms. Wharton. I was just calling to see if you needed a babysitter this weekend. We have an open
slot in our schedule, so we thought we should call and check.”
There was a pause on the other end of the line. After a moment, Ms. Wharton responded. “Hmmm. Well, as
a matter of fact, I do have an appointment to attend on Saturday afternoon.”
“Perfect!” cried Marge. She glanced over at Richie and gave him a teasing look. “What time should I come
over?”
“Well, that’s the thing,” said Ms. Wharton. “I’m, well. . . I’m a little short on cash right now. You know how it
is. So I think I might just leave the kids on their own this time. Josh is almost eight, so I think they’ll be okay."
Marge’s face dropped. “Oh,” she said. “Are you sure? I mean, it wouldn’t be too much trouble for me.”
“That’s very sweet of you, Marge, but I just can’t this week.”
Ms. Wharton hung up the phone, and Marge turned back to Richie.
“I told you,” he said. “Not even worth it.”
Marge nodded, but she frowned at the thought of Josh and little Lisa being left home alone.
By the time the weekend arrived, Richie had managed to pick up another job, but Marge still couldn’t find
any work for Saturday. As Richie packed up to head over to the Hendersons’ house, Marge sat at the kitchen
table, thinking hard. Suddenly, she stood up and ran off to her bedroom. She grabbed a few of her favorite
children’s books and threw them into her backpack. As Richie headed out the front door, she followed after
him.
“Where are you going?” he asked.
“I think I might head over to the Whartons’ after all.”
“Did she call you back? Is she paying you?”
“No. . . but I’d like to spend some time with Josh and Lisa. They’re on their own this afternoon. And, well, I
guess I don’t mind not getting paid for it.”
Richie stared at her, puzzled.
“Okay, if that’s what you want to do with your time, I can’t stop you.”
He shook his head and headed downstairs to the Hendersons’ apartment.
Marge shrugged and walked up a flight to the Whartons’ apartment. She knocked and waited. Ms. Wharton
came to the door a moment later.
“Marge! I wasn’t expecting you today. I thought. . .”
“Is it okay if I hang out with Josh and Lisa today? Just for fun? You don’t need to pay me.”
“Are you sure?”
“Of course!”
Ms. Wharton led Marge into the apartment, and Josh and Lisa came running.
“Marge! Are you going to play with us today?”
Marge smiled. FunWorld could wait.
Question 2:
Read the following short story. As you do, pay attention to whether the characters are flat characters or round
characters.
March 14, 44 BCE

By Peter Rhomberg
Cicero held forth a dagger. Its deadly blade flickered in the candlelight of the study of Marcus Brutus.
“Brutus, you must do what you feel is right in your heart. I will not compel you to accept this responsibility. But
know this: if you do not join this conspiracy, it will look like a bloody attempt of one group to gain control of the
government. If you join, it will look like a necessary, united act to rid Rome of a tyrant. Worse, a. . . king.”
Cicero nearly spat the last word. “I speak for the moderates in the Senate, as you know, Brutus. After much
consideration and soul-searching, I have decided to support Cassius in his conspiracy. But I will not attempt to
convince you to join. You must make that decision yourself.”
Brutus sat, considering the dagger before him. “Cicero, you ask too much of me. Caesar is my friend. I have
always loved and supported him. How can I turn against him now?”
Cassius dabbed at the edge of his lip with a silk handkerchief. He spoke in a high, reedy voice that was
used to commanding others. “Brutus, do it not for any dislike of Caesar the man, for we know you have none.
Instead, do it for your love of Rome. The common people beg you to do this deed. You told me just yesterday
that you have received letters from many citizens urging an end to this tyrant.”
Brutus shook his head. “But you know the people. They are not to be trusted. They joyfully shout your name
in the streets one day, and the next call for your head. Talk to me not about the common people.”
Cassius pressed on. “What about your own honor and the honor of this republic? Do not forget that it was
your own glorious forefather who rid Rome of the last king. Will it be said that the descendent of Lucius Junius
Brutus stood by and did nothing while a new king robbed Rome of our cherished Republic? Worse, will it be
said that this descendent of that most noble Lucius Junius Brutus was a friend and supporter of a Republic-
ending king?”
Brutus wavered, and Cassius could see his words were having an effect. He leaned in close and spoke
quietly, like a friend. “Brutus, please. We need you. The conspiracy needs you. The Senate and people of
Rome need you.”
The room was silent for a long time. The candles flickered as a slave in the corner slowly waved a large fan.
It was warm for mid-March, and the study was stuffy and a little too warm. Brutus wished he could be
anywhere else.
How could he betray his friend like this? Caesar had been good to his mother and himself, mentoring him
when he was a youth in the military and in government. He had forgiven Brutus for siding with Pompey in the
last civil war. After such forgiveness, how could Brutus repay Caesar with a knife in the back?
But Cassius was right. His fireplace was filled with the burned remains of letters that citizens had written,
which begged Brutus to put an end of Caesar’s ambitions. And Caesar certainly was ambitious. No man dared
stand against his will. He was a king in all but name, and all good Romans hated the very idea of being the
subject of a king.
After several long minutes of silence, Cassius snatched the dagger from Cicero and shoved the handle
towards Brutus. “Brutus, the people, through their letters to you, have spoken. Cicero and the moderates in the
Senate have spoken. They all know that if Rome is to survive, then Caesar must fall. And you, Brutus? Will you
add your voice? Or will you, through cowardice or misplaced loyalty, become a tool of Caesar’s ambitions?”
Slowly, cautiously, Brutus reached out and took the dagger. Cassius slapped him on the back and laughed,
while Cicero nodded once slowly.
Cicero looked glum as he and Cassius left Brutus’s house. “Cassius, I will not back out now. But I still do not
like this. Assassination is not in my blood. Perhaps I shall be sick tomorrow and not attend the Senate
meeting.”
“As long as you do not interfere with our plans, Cicero,” said the other man, a wolfish smile on his face.
“Tomorrow, we will finally rid ourselves of that fool Caesar. Relying on the love of the common people is too
dangerous for us noble-born men.”
“Ah,” responded Cicero. “I thank you for including me in your ranks of 'noble-born men,' since I was born to
a farmer in the countryside. But I thought you said that Brutus had received letters from the common people,
begging him to join this conspiracy?”
Cassius’s smile grew even wider. “It is astonishing how easy it is to disguise one’s handwriting, my dear
Cicero. Over the last few months, I have sent Brutus hundreds of letters to convince him that the people are
with us. Who cares what the people really think! Their love can be too easily bought and sold. No, once Caesar
is out of the way, the rule of Rome will return to the ancient and noble families of Rome, where it belongs.
None of this concern about what the people want.”
Cicero looked even more distraught. “Yes, I believe I shall be sick tomorrow. I may not even have to fake it.”
Question 3:
How would you describe Brutus?
confident, honorable, dedicated
feeble, simple-minded, depressed
indecisive, struggling with a difficult choice, honorable
sly, fierce, loyal
Question 4:
How would you describe Cicero?

strong-willed and forceful
uncomfortable and unconfident
relaxed and playful
noble and self-assured
Question 5:
Is Brutus a flat character or a round character?
a flat character
a round character
Lesson Topic: Contrast static and dynamic characters
Question 1:
In Mark Twain's A Connecticut Yankee in King Arthur's Court, a 19th-century American, a Yankee, travels
back in time to 6th-century England. The land is ruled by King Arthur, his Knights of the Round Table, and by
the influence of the Catholic Church. The Yankee, Hank Morgan, hopes to bring the democratic principles he
cherishes to England's religious monarchy. The Connecticut Yankee seeks to demonstrate the power of
America's government to a world 1,300 years in the past. In order to enter a new world, however, he needs
someone to unlock a culture alien to his worldview. The Yankee finds this person in Clarence.
He is fortunate to run into Clarence, as the Yankee has been receiving strange looks and questions about
his odd dialect since stumbling into the Middle Ages. Clarence is a talkative page who is eager to tell Arthur
about his life as a prisoner of a cruel knight. Over time, Clarence develops an enthusiasm for the Yankee's
unbelievable tales of life a thousand years in the future: steaming machines floating across the Earth, the
New World, buffalo, and Native American tribes.
During the Connecticut Yankee's adventure, the Yankee meets the mythological Knights of the Round
Table: the fiercely loyal Sir Gawain, the gallant Sir Gallahad, the brave Sir Lancelot, the illustrious King
Arthur. Over the course of the narrative, the Yankee impresses these regal men with the wonders of
technology.
Eventually, however, this technology itself cannot live up to the Yankee's lofty goals. He realizes that
advances in machines don't always mean advances in the moral fabric of society. The Yankee is left rather
sadly with distrust in his own beliefs in addition to detesting medieval European governments.
Clarence, however, grows from an ignorant boy to a bright light on the medieval scene. Guided by the
tutelage of the Yankee, Clarence learns much of 19th century ways and adopts a fervent belief in democratic
principles. At the end of the novel, he appears ready to grow into a prominent role in a reshaping of the world
as it is in 6th-century England.
Is the Connecticut Yankee a static or a dynamic character?
dynamic because the Yankee's viewpoint changes over the course of the story
static because the Yankee's viewpoint does not change from the beginning to the end of
the narrative
dynamic because the Yankee is accepted in 6th-century England
static because the Yankee cannot adapt to Arthurian England

Question 2:
Read the following short story. As you do, pay attention to whether the main characters are static characters or
dynamic characters.
The Snow Day

By Abbie Williams
The morning after the big blizzard, Branden and Ted woke up to find the world covered in snow. Late
afternoon sunlight sparkled on the icicles outside their bedroom window. Mom hadn’t bothered to wake them at
their usual time because there would be no school today.
They tumbled downstairs and into the kitchen, excited for a full day of fun. There were video games to play,
comics to read, snowballs to throw. . . the opportunities were endless.
But, as it often happened with the twins, they started arguing almost immediately. First it was the cereal.
Branden wanted to finish off the box of Fruit-o-Bites, but Ted said that he had already called dibs. As usual,
Mom had to intervene to restore peace. This lasted for about ten minutes, when both boys decided that they
wanted to play one of their games and couldn’t agree to take turns.
“I picked out this game, so I should get to play it whenever I want,” said Branden.
“Well, I helped pay for it,” countered Ted. “So it’s mine, too.”
“The two of you are insufferable. Why don’t you go shovel Mrs. Franklin’s driveway for her? She shouldn’t
be doing that herself.”
Ted looked up from the TV. “Is she going to pay us?” he asked.
Mom glared at him. “No. You’re going to do it because it’s the right thing to do. You’ve got the whole day off.
You can spare a few minutes to help a neighbor in need.”
“Uggggh,” Branden grumbled, thinking of how cold and miserable it would be outside.
Mom gave them that look that meant she was serious. There would be no getting out of this one.
Across the street, Mrs. Franklin was struggling with a large snow shovel. She carefully scooped the white
fluff from her driveway and piled it onto the brown patch that was—in other seasons—a green, well-manicured
lawn. At her current rate, it would take her all day to finish the driveway. Mrs. Franklin was nearly ninety years
old. She was small and frail, and the low temperatures had clearly chilled her to the bone.
Branden and Ted ambled over in their heavy winter coats, heavy-duty shovels in their gloved hands.
“Hi, Mrs. Franklin,” Ted said.
“Our mom said we should come shovel for you,” mumbled Branden.
“Oh, how sweet of you boys!” she declared. She smiled, clearly delighted by their offer. “I could really use
your help.”
Ted sighed grimly, but he tried to be pleasant. “Yeah, no problem.”
“I’ll be inside, warming up,” she told them, “But when you finish, you should come in for some hot cocoa. I
have a special recipe, which is just wonderful.”
“Thanks, Mrs. Franklin,” Branden said, even though he didn’t really mean it.
As the old woman tottered into the house, Branden and Ted set to work. It was bitterly cold out, but the
effort soon warmed them up. They worked quickly, imagining what else they could be doing with their snow
day. As Ted grumbled on about how far he could have gotten in his game if they had stayed in, Branden
paused to adjust his thick work gloves. As he did so, he looked into Mrs. Franklin’s front window and saw her
sitting alone at the kitchen table, mug in hand. Without her winter coat, she looked so small and vulnerable.
And there was something about her stare that looked almost lonely. Branden wondered what she might be
thinking, but quickly brushed the thought away. He had work to do, and he wanted to get it done quickly.
Twenty minutes later, Branden and Ted tossed one more shovelful of snow onto their now-giant pile.
“Whew,” said Ted. “I think we’re done here.”
“Finally.”
“Time to get back to gaming. I’ll race you—first one to the door get’s to play first!”
“What about that hot cocoa?” Branden asked, looking back toward Mrs. Franklin, who was now waving from
the window.
“Seriously?” said Ted. “We can make that at home. Remember home? Where we have fun things to do? I
don’t really want to spend my snow day hanging out with an old lady.”
“Yeah, but she looks like she could use someone to talk to.”
“Suit yourself. I’m going home. I can’t wait to beat this game before you.”
Ted ran off while Branden walked up to Mrs. Franklin’s front door and rang the bell.
A moment later, she opened it with a wide smile.
“Thank you so much, Branden!” she said, handing him a hot cup of cocoa.
Branden was surprised that she could tell the two of them apart. Even their best friends mixed up the twins
on occasion.
He took a sip of the cocoa. It was incredible, much better than the stuff back home. This had a hint of
cinnamon and something else he couldn’t quite place. He took another sip as Mrs. Franklin ushered him into a
seat at the table.
“You know, I’m not as strong as I used to be,” she chuckled. Her gaze drifted over to a framed photo on the
wall. It was an old photo, black and white, featuring two young people in uniform.
“Is that you?” he asked, incredulous.
“Yes, me and my late husband David. He was in the army, you know, and I was a nurse. We met in the
hospital. He was one of my patients.”
“World War II?” Branden asked.
“Yes, and he was in Korea, too,” she said, “Such a terrible time, but it brought us together.”
All at once, Branden was filled with questions. Ever since that fall, when he had watched a movie about the
war, he had been fascinated by World War II. And here was someone who had actually been through it.
Someone who knew first-hand what it was like.
“Mrs. Franklin, can I stay for a while and talk with you?”
“Why, of course, dear.”
And so they spent the afternoon talking and drinking hot cocoa. Mrs. Franklin told Branden about her own
experiences in the war, as well as those her husband had shared with her. Branden had never known that his
neighbor had lived such an interesting life. By the time he went home, the sun was setting, and Ted had
already reached the final level of his game. But Branden didn’t mind. In fact, he thought he might offer to
shovel again the next time it snowed.
Question 3:
Read the following short story. Then, use the story to answer the next five questions.
The Art of Patience

By Beverley Collis
On Friday afternoon, Shannon and April ran home from school, excited for the weekend. Friday was their
favorite day because it was the day they received their weekly allowance. As soon as their father got home
from work, they eagerly greeted him at the door and held out their hands for their earnings. Every week, they
received five dollars, as long as they had completed all of their chores throughout the week. Usually, they ran
out the door first thing on Saturday morning and spent the money right away. Candy and comics were usually
first on their list. Sometimes they pooled their money for something a little nicer, but there wasn’t too much you
could do with that kind of money. Once it was gone, it was gone.
Throughout the rest of the week, the girls waited eagerly for their next allowance. To pass the time after
school, they did their chores, cleaning up after dinner and keeping their room tidy. Their room was usually
littered with junk: candy wrappers and little knickknacks they had acquired during their Saturday shopping
sprees. Every once in a while, their dad brought in a plastic bag and made them fill it up with donations for the
local thrift shop.
"You don’t use this stuff anyway,” he’d tell them. “You might as well let someone else get some use out of
it.”
The girls grumbled, but they always complied in the end, even if they didn’t agree.
One Tuesday, as they were cleaning up yet again, shoveling plastic figures into a pile in the corner,
Shannon started to wonder if maybe her father was right. She had once been so excited about this alien action
figure, but now she wondered why she’d even bought it in the first place. She’d thought it was cool for maybe a
day, but now it was just collecting dust and cluttering up her half of the room. And that seemed to be the case
with everything she’d bought lately. She wondered how much money she could have saved up if she hadn’t
bought any of this stuff, and she felt guilty for all the allowance money she’d wasted.
That Saturday, Shannon and April headed to the corner store as usual, wandering the aisles as was their
custom. But while April loaded up on plastic bracelets and gummy worms, Shannon decided not to buy
anything.
“I think I’m going to save mine,” she told April. “Maybe I’ll buy something better next week.”
But by next Saturday, April still didn’t feel like buying anything. She had plenty of things to entertain her at
home, anyway, and she felt good about the small savings growing in her wallet.
Three weeks after that, Shannon had $25 saved up. It was rare for her to have this kind of money. She
wondered what she should do with it. She could go to the corner store with April and buy a whole pile of candy
and comics. She could even pay for them to go to the movies and get a big bucket of popcorn. But for some
reason she wanted to do something different. She wanted to spend this money on something special.
On the walk back home that day, they passed an art supply store. Shannon looked in the window and saw a
beautiful art kit, filled with colored pencils, pastels, and watercolor paints. Shannon stopped in front of the
window, and April paused with her. Both of the girls loved art class in school, but they didn’t have many art
supplies at home. They certainly didn’t have anything as nice as this set. Shannon imagined all of the
incredible things she would be able to create with it.
“Wow,” she sighed. “That looks amazing.”
“Yeah,” whispered April, in awe, “We should ask Dad to buy that for us.”
Shannon glanced at the price tag. It was $30 . . . in a week, she would have enough on her own, but she
didn’t say anything to April.
When they got home, April ran into the living room and ambushed their father.
“Dad, we saw the most incredible art set!” she declared. “It has everything in it! It’s so perfect! Will you buy it
for us? Please? We’ll share!”
Their dad looked up from his newspaper.
“An art set, eh? How much does it cost?”
“It’s $30,” said Shannon.
“That’s not so much. Why, I bet you girls could buy it with your allowance. Why don’t you pool your money?”
“But that would take so long,” April whined. “We’d have to save for weeks. I’ve already spent all of my
money this week. Please?”
“You know,” he said. “I think this would be a great opportunity for you two to learn something about saving
up. I’m not going to buy that kit for you, but you can buy it yourselves in a few weeks if you’re patient.”
April sighed and stomped off to the bedroom to read comics. Shannon felt sorry for her sister, but only for a
moment. She now knew where her savings would go.
By the next Saturday, April was buying more candy. This time, on their walk home, they stopped at the art
store and Shannon made her big purchase: the art kit was hers.
From that day forward, Shannon spent her weekends drawing and painting. She displayed her work proudly
around her house, and at school her art teacher commended her on how much progress she was making.
April kept whining to get her own art kit, but their dad just shook his head and smiled at Shannon.
Question 4:
Is April a static character or a dynamic character?

static character
dynamic character
Question 5:
Is Shannon a static character or a dynamic character?
static character
dynamic character
Lesson Topic: Contrast protagonists and antagonists
Question 1:
Ayva ran as fast as she could. Her feet pounded the hard red track beneath her, and she could feel every
muscle in her body working overtime. The sound of her pumping heart thudded in her ears as she took the
first turn. Right behind her to the left was Janelle, the other runner from her team, but Ayva wasn't worried
about her. Instead, Northbrook High School's track star was focused on the back of her rival, Caroline
Marcus from Oak Lawn High.
Ayva could see that she was slowly gaining on her rival as they came around the last turn of the race
track. She dug deep down within her for any last stores of energy and somehow put on another burst of
speed. The finish line was close, so close, and she was almost past Caroline…
Who is the protagonist?
Ayva
Janelle
Caroline
Northbrook High School
Oak Lawn High
Question 2:
I took a deep breath as my head popped above the surface of the surging river. I could see my capsized
canoe about twenty feet from me. The river was filled with the contents of my canoe: my tent and sleeping
bag, all my food, even my spare pair of boots were all bobbing in the frothy rapids.
I hit another whirlpool and was sucked under the choppy white waters. I could feel myself begin to panic
as the full weight of the situation hit me. I was alone in the wilderness, all my possessions were quickly
sinking in this unexpectedly dangerous river, and my canoe and I were growing further apart from each other
with each passing minute.
If this were a movie, there would be a waterfall up ahead. Luckily, my map hadn't shown any waterfalls on
this stretch of the river. On the other hand, it hadn't mentioned the powerful rapids either.
What is the protagonist's conflict in this passage?
The main character used an out of date or inaccurate map.
The main character fell out of his or her canoe in a dangerous river.
The main character is in a river and does not know how to swim.
The main character is about to go over a waterfall.
Question 3:
I took a deep breath as my head popped above the surface of the surging river. I could see my capsized
canoe about twenty feet from me. The river was filled with the contents of my canoe: my tent and sleeping
bag, all my food, even my spare pair of boots were all bobbing in the frothy rapids.
I hit another whirlpool and was sucked under the choppy white waters. I could feel myself begin to panic
as the full weight of the situation hit me. I was alone in the wilderness, all my possessions were quickly
sinking in this unexpectedly dangerous river, and my canoe and I were growing further apart from each other
with each passing minute.
If this were a movie, there would be a waterfall up ahead. Luckily, my map hadn't shown any waterfalls on
this stretch of the river. On the other hand, it hadn't mentioned the powerful rapids either.
Who or what is the antagonist in the passage below?
the narrator's canoe
the river
the narrator's map
the narrator
Question 4:
Running Eagle climbed the sharp rock walls slowly and carefully. The gusting wind whipped the cold,
stinging rain into her eyes and made the rocks slick under her hands. She was only halfway up the tower, yet
it felt like she had been climbing for ages.
High above, at the peak of the tower, sat the nest of the great thunderbirds, enormous birds who brought
the wind and the rain. Running Eagle had been sent on a quest to retrieve one of the great birds' gullet
stones, which were said to have healing powers.
Wedging her foot in a small crack, Running Eagle reached up as high as she could and grasped the next
rocky hold she could find. Her muscles straining, she pulled herself up to the ledge and scanned the sky. She
couldn't see the ominous black form of Raven anywhere, but that was no guarantee that he wasn't around.
Sure enough, Raven returned to torment her as soon as she began climbing again. He swooped down
and pecked at her hands and clawed at her hair, hoping to cause her to fall, but Running Eagle held on
tightly with one hand and swatted the bird with her other. When his first attempts had failed, Raven gave a
caw of dismay and settled on a perch high above her.
"Cr-r-rack! Foolish girl. Why do you persist in your impossible goal? You will die here, and your quest will
be in vain. If you do not fall off the cliff-face, the thunderbirds will hunt you down. Why do you continue?
Come back with me to be my wife, and you will never again know pain or want."
Running Eagle ignored the cruel bird and continued her slow ascent.
How does the antagonist oppose the protagonist in the passage below?
Raven causes the rain, which makes the cliff dangerous to climb.
Raven tries to talk Running Eagle out of her quest.
Raven tries to cause Running Eagle to fall.
Raven tells the thunderbirds that Running Eagle is coming to steal their gullet stones.
Question 5:
Geoff stood in the on-deck circle, swinging his weighted baseball bat each time the other team's pitcher
threw the ball. Geoff's teammate Kevin swung, swung, and swung again as three balls flew past his bat and
into the catcher's mitt. Kevin hung his head in shame, his face red as he retired to the dugout.
Geoff nervously stepped towards the batter's box. The situation couldn't be more stereotypical: Geoff's
team, the Tigers, were down by one in the bottom of the 9th. Kevin's strike-out meant that there were two
outs, and there were runners on second and third. In the next few pitches, Geoff had the chance to win this
game. . . but instead he might end the Tigers' season.
The pitcher wound up for the first pitch and sent a blistering fastball past Geoff, who swung too late. Strike
one.
The second pitch was a slider, which Geoff caught on the edge of his bat. It fouled out into right field.
Strike two.
Geoff could feel his hands sweat inside the batting gloves he wore. This next pitch would be it.
How does the antagonist oppose the protagonist in the passage below?
The antagonist successfully strikes out the protagonist.
The antagonist is trying to strike out the protagonist.
The antagonist throws a curve ball which confuses the protagonist.
The antagonist catches a foul ball, causing the protagonist to be out.

Lesson Topic: Contrast main characters and foils
Question 1:
Read the following short story. As you read, pay attention to the character traits of the Tom and his brother
Sidney and how the foil emphasizes the main character’s traits.
The Adventures of Tom Sawyer

Chapter 1
By Mark Twain
"TOM!"
No answer.
"TOM!"
No answer.
"What's gone with that boy, I wonder? You TOM!"
No answer.
The old lady pulled her spectacles down and looked over them about the room; then she put them up and
looked out under them. She seldom or never looked through them for so small a thing as a boy; they were her
state pair, the pride of her heart, and were built for "style," not service—she could have seen through a pair of
stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for
the furniture to hear:
"Well, I lay if I get hold of you I'll—"
She did not finish, for by this time she was bending down and punching under the bed with the broom, and
so she needed breath to punctuate the punches with. She resurrected nothing but the cat.
"I never did see the beat of that boy!"
She went to the open door and stood in it and looked out among the tomato vines and "jimpson" weeds that
constituted the garden. No Tom. So she lifted up her voice at an angle calculated for distance and shouted:
"Y-o-u-u TOM!"
There was a slight noise behind her and she turned just in time to seize a small boy by the slack of his
roundabout and arrest his flight.
"There! I might 'a' thought of that closet. What you been doing in there?"
"Nothing."
"Nothing! Look at your hands. And look at your mouth. What is that truck?"
"I don't know, aunt."
"Well, I know. It's jam—that's what it is. Forty times I've said if you didn't let that jam alone I'd skin you. Hand
me that switch."
The switch hovered in the air—the peril was desperate—
"My! Look behind you, aunt!"
The old lady whirled round, and snatched her skirts out of danger. The lad fled on the instant, scrambled up
the high board-fence, and disappeared over it.
His aunt Polly stood surprised a moment, and then broke into a gentle laugh.
"Hang the boy, can't I never learn anything? Ain't he played me tricks enough like that for me to be looking
out for him by this time? But old fools is the biggest fools there is. Can't learn an old dog new tricks, as the
saying is. But my goodness, he never plays them alike, two days, and how is a body to know what's coming?
He 'peers to know just how long he can torment me before I get my dander up, and he knows if he can make
out to put me off for a minute or make me laugh, it's all down again and I can't hit him a lick. I ain't doing my
duty by that boy, and that's the Lord's truth, goodness knows. Spare the rod and spoil the child, as they say.
I'm a laying up sin and suffering for us both, I know. He's full of the Old Scratch, but laws-a-me! he's my own
dead sister's boy, poor thing, and I ain't got the heart to lash him, somehow. Every time I let him off, my
conscience does hurt me so, and every time I hit him my old heart most breaks. Well-a-well, man that is born
of woman is of few days and full of trouble, as the Scripture says, and I reckon it's so. He'll play hookey this
afternoon I'll just be obleeged to make him work, tomorrow, to punish him. It's mighty hard to make him work
Saturdays, when all the boys is having holiday, but he hates work more than he hates anything else, and I've
got to do some of my duty by him, or I'll be the ruination of the child."
Tom did play hookey, and he had a very good time. He got back home barely in time to help Jim, the small
servant boy, saw next-day's wood and split the kindlings before supper—at least he was there in time to tell his
adventures to Jim while Jim did three-fourths of the work. Tom's younger brother (or rather half-brother) Sid
was already through with his part of the work (picking up chips), for he was a quiet boy, and had no
adventurous, trouble-some ways.
While Tom was eating his supper, and stealing sugar as opportunity offered, Aunt Polly asked him
questions that were full of guile, and very deep—for she wanted to trap him into damaging revealments. Like
many other simple-hearted souls, it was her pet vanity to believe she was endowed with a talent for dark and
mysterious diplomacy, and she loved to contemplate her most transparent devices as marvels of low cunning.
Said she:
"Tom, it was middling warm in school, warn't it?"
"Yes'm."
"Powerful warm, warn't it?"
"Yes'm."
"Didn't you want to go in a-swimming, Tom?"
A bit of a scare shot through Tom—a touch of uncomfortable suspicion. He searched Aunt Polly's face, but
it told him nothing. So he said:
"No'm—well, not very much."
The old lady reached out her hand and felt Tom's shirt, and said:
"But you ain't too warm now, though." And it flattered her to reflect that she had discovered that the shirt
was dry without anybody knowing that that was what she had in her mind. But in spite of her, Tom knew where
the wind lay, now. So he forestalled what might be the next move:
"Some of us pumped water on our heads—mine's damp yet. See?"
Aunt Polly was vexed to think she had overlooked that bit of circumstantial evidence, and missed a trick.
Then she had a new inspiration:
"Tom, you didn't have to undo your shirt collar where I sewed it, to pump on your head, did you? Unbutton
your jacket!"
The trouble vanished out of Tom's face. He opened his jacket. His shirt collar was securely sewed.
"Bother! Well, go 'long with you. I'd made sure you'd played hookey and been a-swimming. But I forgive ye,
Tom. I reckon you're a kind of a singed cat, as the saying is—better'n you look. This time."
She was half sorry her sagacity had miscarried, and half glad that Tom had stumbled into obedient conduct
for once.
But Sidney said:
"Well, now, if I didn't think you sewed his collar with white thread, but it's black."
"Why, I did sew it with white! Tom!"
But Tom did not wait for the rest. As he went out at the door he said:
"Siddy, I'll lick you for that."
In a safe place Tom examined two large needles which were thrust into the lapels of his jacket, and had
thread bound about them—one needle carried white thread and the other black. He said:
"She'd never noticed if it hadn't been for Sid. Confound it! sometimes she sews it with white, and sometimes
she sews it with black. I wish to gee-miny she'd stick to one or t'other—I can't keep the run of 'em. But I bet you
I'll lam Sid for that. I'll learn him!"
He was not the Model Boy of the village. He knew the model boy very well though—and loathed him.
Question 2:
Read the following short story. As you read, pay attention to the character traits of the main character and the
foil and how the foil emphasizes the main character’s traits.
Jousting at Windmills
Adapted from Cervantes’s Don Quixote
By Peter Rhomberg
“Sancho! My dear and trusty servant, ready another lance! This giant’s hide is tougher than I expected!”
Sancho Panza sighed and held the last spear out for his master, Don Quixote. The old knight galloped past,
hardly able to stay on his scrawny old horse, and overshot Sancho Panza, missing the spear entirely. He
reined his horse up to a stop, turned around, and unsteadily grabbed the spear from his servant. Don Quixote
couched the spear under his arm and charged at his target.
The spear shattered as it struck the rocky wall of the windmill. The large square blade of the windmill swept
down and struck a glancing blow to Don Quixote’s shoulder.
“What? You knave!” shouted the old knight. “Sancho, this beast still has fight in him yet! Fear not, though,
for I shall slay him with my sword!” So saying, he struggled to grab his sword from out of his sheath. After a few
tugs he was able to remove the chipped and rusty blade from its sheath. The old knight wheeled his nag
around and struck the stone sides of the windmill with a fury, sending sparks flying in all directions.
The square, cloth-covered arms of the windmill spun slowly on, ignoring the vicious attack of Don Quixote.
The old knight dodged one arm but was struck square in the back by the next one, and was pushed off his
saddle. He lay on his back on the ground like a turtle, unable to right himself.
“Sancho! Sancho Panza! The beast has unhorsed me! I need your assistance now, my faithful squire!”
Sancho Panza was already riding slowly towards his master. He grabbed the old knight and pulled him
away from the windmill and unceremoniously draped him over the back of his horse. He grabbed the reins of
Don Quixote’s skinny old horse and galloped down the hill. His master screamed curses at him about his
cowardice and demanded to be returned “to the glorious field of combat.”
“Ouch.”
“Oh, don’t complain. It’s just a small cut. It could have been much worse, a man in your condition.”
The two sat by their campfire that night. Sancho Panza applied more alcohol to the small scrapes and cuts
on his master’s face where shards of shattered spears had superficially cut the skin. The old knight's squire
then dabbed honey onto the wounds to make sure they did not fester and covered honey-smeared wounds
with bandages.
“Did you see the size of that giant, Sancho? The thickness of his stony hide, the strength in his massive
arms. . . I have not seen a beast like this in our fair countryside for many years.”
“Yes, master. You showed great bravery in your fearless assault against such a monster.” A windmill,
Sancho Panza thought to himself. My master showed great bravery fighting a simple windmill. And he lost.
“Well, now I will be prepared to confront him tomorrow! The beast showed cunning when he caught me by
surprise today. I don’t intend for him to have the upper hand tomorrow! We shall be ready for him and shall
free the countryside of his terror!”
“Very good, master.” Sancho Panza put a kettle of water on the campfire, and within minutes he had
brewed two cups of tea. Then he quietly and competently skinned a rabbit and made a simple stew for himself
and his master. All the while, he listened to the rantings and ravings of the mad fool, the old knight Don
Quixote. He knew there was nothing he could do to help his master. He was in the depths of his madness, and
humoring him was the best way to help him. Sancho Panza just hoped that he would be able to pull his old
friend and master out of his insanity before he was seriously hurt—or before he hurt someone by mistake.
Question 3:
Who is Sancho Panza's foil?

the horse
Don Quixote
the windmill
the giant
Question 4:
How would you describe Sancho Panza's personality?
prone to episodes of madness
sensible and concerned
unconcerned and uncaring
reasonable and amused
Question 5:
How would you describe Don Quixote's personality?
angry yet insane
obsessed and detail-oriented
crazy and unconcerned with reality
brave and heroic

Lesson: Multimedia Elements
Lesson Topic: Compare and contrast a written text to its audio version
Question 1:
← Click the sound icon to listen to the audio recording of the text
below." + ProblemCaption;
The boys, growing anxious, hovered in the corner of their canvas tent. They were starting to second
guess their brilliant idea to camp in the woods of Malik's country home. As the sounds of the steps were
getting closer, the boys inched to the farthest corner of the tent. They began to look at each other with fear
and go through their backpacks looking for something to protect themselves. When they only found a few
snacks and a comic book, the fear took over. The boys sat, unarmed as the footsteps got closer and closer.
Then, the footsteps stopped. There was silence outside the tent for a few seconds, but it seemed like an
eternity to the campers. The tent began to jiggle where the zippers met. The sounds of the zippers tapping
each other was then overpowered by the sounds of deep breathing. The zippers began to part, and the tent
started to tear open. In came Malik's new puppy to visit the boys. The puppy began to lick the boys' faces,
which made their tense bodies relax.
What techniques does the reader in the audio recording use to establish the mood?
The reader reads the text in a deep voice and at a slow pace.
The reader reads the text at a slow pace and in a whisper.
The reader uses sound effects for the approaching dog.
The reader reads the text in a loud voice and at a fast pace.
Question 2:
Read this excerpt silently, taking note of images, sounds, mood, and tone of the text that you create in your
own mind based on the author's descriptions and your imagination. Then, click the sound icon below to hear
the story read aloud.
Dorothy and the Wizard of Oz

By L. Frank Baum
The boy flicked the big, boney horse with his whip and looked thoughtful. Then he started to say something
to his little companion, but before he could speak the buggy began to sway dangerously from side to side and
the earth seemed to rise up before them. Next minute there was a roar and a sharp crash, and at her side
Dorothy saw the ground open in a wide crack and then come together again.
"Goodness!" she cried, grasping the iron rail of the seat. "What was that?"
"That was an awful big quake," replied Zeb, his voice shaking. "It almost got us that time, Dorothy."
← Click the sound icon to hear the story read aloud.

Question 3:
She set down the bird-cage and poked the boy with her parasol. Presently he woke up, rose to a sitting
position and rubbed his eyes briskly.
"Hello," he said, seeing her, "are you Dorothy Gale?"
"Yes," she answered, looking gravely at his tousled hair and blinking gray eyes. "Have you come to take
me to Hugson's Ranch?"
"Of course," he answered. "Train in?"
"I couldn't be here if it wasn't," she said.
He laughed at that, and his laugh was merry and frank. Jumping out of the buggy he put Dorothy's suit-
case under the seat and her bird-cage on the floor in front.
"Canary-birds?" he asked.
"Oh no; it's just Eureka, my kitten. I thought that was the best way to carry her."
The boy nodded. "Eureka's a funny name for a cat," he remarked.
"I named my kitten that because I found it," she explained. "Uncle Henry says 'Eureka' means 'I have
found it.'"
"All right; hop in."
-From Dorothy and the Wizard of Oz by L. Frank Baum
What features in the written text imply the mood?
the phrase, "it's just Eureka, my kitten."
the phrase, "his laugh was merry and frank"
exclamation points
the phrase, "The boy nodded."
all of the above

Question 4:
← Click the sound icon to hear the audio recording of the text
below.
"Hello!" he said, seeing her, "are you Dorothy Gale?"
found it.'"
What techniques does the reader in the audio recording use to establish the mood?
The reader reads the text in a loud, deep voice.
The reader uses sound effects for the train and the cat.
The reader reads the text in a higher pitch.
The reader reads the text at a fast pace.
Question 5:
Read the passage below, then listen to the audio recording of the text.
"Hello!" he said, seeing her, "are you Dorothy Gale?"
found it.'"
How is the mood implied by the written text and the mood established by the audio recording the same or
different?
← Click the sound icon to hear the audio recording of the text below. "
+ ProblemCaption;
Both the written text and the audio recording imply a solemn mood.
Both the written text and the audio recording imply a friendly, lighthearted mood.
The written text implies a lighthearted mood, while the audio recording establishes a
solemn mood.
The written text implies a solemn mood, while the audio recording establishes a friendly,
lighthearted mood.
Lesson Topic: Compare and contrast a story or drama to its stage or film version
Question 1:
Read the novel excerpt. Then, read the excerpt from a script for a film version of the novel.
A few weeks before Sara's eleventh birthday a letter came to her from her father, which did not seem to
be written in such boyish high spirits as usual. He was not very well, and was evidently overweighted by the
business connected with the diamond mines.
"You see, little Sara," he wrote, "your daddy is not a businessman at all, and figures and documents
bother him. He does not really understand them, and all this seems so enormous. Perhaps, if I was not
feverish I should not be awake, tossing about, one half of the night and spend the other half in troublesome
dreams. If my little missus were here, I dare say she would give me some solemn, good advice. You would,
wouldn't you, Little Missus?"
One of his many jokes had been to call her his "little missus" because she had such an old-fashioned air.
He had made wonderful preparations for her birthday. Among other things, a new doll had been ordered
in Paris, and her wardrobe was to be, indeed, a marvel of splendid perfection. When she had replied to the
letter asking her if the doll would be an acceptable present, Sara had been very quaint.
"I am getting very old," she wrote; "you see, I shall never live to have another doll given me. This will be
my last doll. There is something solemn about it. If I could write poetry, I am sure a poem about 'A Last Doll'
would be very nice. But I cannot write poetry. I have tried, and it made me laugh. It did not sound like Watts
or Coleridge or Shakespeare at all. No one could ever take Emily's place, but I should respect the Last Doll
very much; and I am sure the school would love it. They all like dolls, though some of the big ones—the
almost fifteen ones—pretend they are too grown up."
Captain Crewe had a splitting headache when he read this letter in his bungalow in India. The table
before him was heaped with papers and letters which were alarming him and filling him with anxious dread,
but he laughed as he had not laughed for weeks.
"Oh," he said, "she's better fun every year she lives. God grant this business may right itself and leave me
free to run home and see her. What wouldn't I give to have her little arms round my neck this minute! What
WOULDN'T I give!"
The birthday was to be celebrated by great festivities. The schoolroom was to be decorated, and there
was to be a party. The boxes containing the presents were to be opened with great ceremony, and there was
to be a glittering feast spread in Miss Minchin's sacred room. When the day arrived the whole house was in a
whirl of excitement. How the morning passed nobody quite knew, because there seemed such preparations
to be made. The schoolroom was being decked with garlands of holly; the desks had been moved away, and
red covers had been put on the forms which were arrayed round the room against the wall.
-Adapted from A Little Princess By Frances Hodgson Burnett

ROSE: A letter?
SARA: It's from my daddy.
ROSE: Oh, how nice!
SARA: But it isn't. It's very bad news.
ROSE: Really? What's the matter, dear?
SARA: He says the Boers aren't behaving quite as he expected and he may not get here 'n time for my
birthday.
ROSE: But that's months off. So many things may happen before then. He may still come, you know.
SARA: I'm writing Miss Minchin to give you a birthday party such as I should give you if I were there. You are
to go on a regular spree. Buy anything and everything your heart desires. Now last and most important of all,
my darling, I want you to pause at exactly two o'clock on your birthday. Close your eyes and send me a kiss
for my eyes also will be closed and I will be giving you a kiss, too. Isn't he the most wonderful man in all the
world?
ROSE: With one exception.
SARA: Well, Mr. Goeffrey is very nice. What's that? Who are they, Miss Rose?
ROSE: They're the volunteers.
SARA: Are they going to South Africa, too?
ROSE: Yes, dear. They're going to relieve our poor soldiers at Mafeking.
SARA: Is something the matter with our soldiers at Mafeking?
ROSE: The Boers have them all cut off, and we've been unable to break through their lines to get help to
them. They're sick and hungry, dear, and desperate. They're holding out like true British soldiers.
SARA: Miss Rose, my daddy's at Mafeking.
ROSE: Oh, darling. I'm so sorry. I didn't know.
SARA: Oh, Miss Rose.
ROSE: Shh... Darling, you mustn't cry. I'm sure it'll be all right.
WOMAN 1: Good afternoon, Mr. Goeffrey.
GOEFFREY: Good afternoon, Martha. Is Miss Sara ready for her ride?
WOMAN 1: Yes, sir, she'll be down presently.
GOEFFREY: Thanks. Oh, are we all ready?
ROSE: Hello, Goeffrey.
GOEFFREY: The two most beautiful ladies in the world. Why, you're not in your riding things.
ROSE: Oh, I can't go today. Ermagarde needs extra tutoring.
GOEFFREY: Oh, will it take all afternoon?
ROSE: I'm afraid so. I have to stay with her till she can spell "Constantinople."
-Adapted from The Little Princess By E. Hill and W. Ferris
What is the same or different about the plot in the story and the film?
In both the story and the film, Sara becomes upset when she finds out the soldiers in
Mafekind are desperate.
In both the story and the film, Sara finds out she will be receiving a doll for her birthday
from her father.
In the story but not the film, Captain Crewe sends his daughter a letter telling her to pause
at 2:00 on her birthday.
In the story but not the film, Captain Crewe learns that his daughter is getting very old and
will have her last doll.
all of the above
Question 2:
Read the novel excerpt. Then, read the excerpt from a script for a film version of the novel. Think about what is
the same and what is different about the plot, characters, and/or setting of the story.
A Little Princess
Chapter 1: Sara
Once on a dark winter's day, when the yellow fog hung so thick and heavy in the streets of London that the
lamps were lighted and the shop windows blazed with gas as they do at night, an odd-looking little girl sat in a
cab with her father and was driven rather slowly through the big thoroughfares.
She sat with her feet tucked under her, and leaned against her father, who held her in his arm, as she
stared out of the window at the passing people with a queer old-fashioned thoughtfulness in her big eyes.
She was such a little girl that one did not expect to see such a look on her small face. It would have been an
old look for a child of twelve, and Sara Crewe was only seven. The fact was, however, that she was always
dreaming and thinking odd things and could not herself remember any time when she had not been thinking
things about grown-up people and the world they belonged to. She felt as if she had lived a long, long time.
At this moment she was remembering the voyage she had just made from Bombay with her father, Captain
Crewe. She was thinking of the big ship, of the Lascars passing silently to and fro on it, of the children playing
about on the hot deck, and of some young officers' wives who used to try to make her talk to them and laugh at
the things she said.
Principally, she was thinking of what a queer thing it was that at one time one was in India in the blazing
sun, and then in the middle of the ocean, and then driving in a strange vehicle through strange streets where
the day was as dark as the night. She found this so puzzling that she moved closer to her father.
"Papa," she said in a low, mysterious little voice which was almost a whisper, "papa."
"What is it, darling?" Captain Crewe answered, holding her closer and looking down into her face. "What is
Sara thinking of?"
"Is this the place?" Sara whispered, cuddling still closer to him. "Is it, papa?"
"Yes, little Sara, it is. We have reached it at last." And though she was only seven years old, she knew that
he felt sad when he said it.
It seemed to her many years since he had begun to prepare her mind for "the place," as she always called
it. Her mother had died when she was born, so she had never known or missed her. Her young, handsome,
rich, petting father seemed to be the only relation she had in the world. They had always played together and
been fond of each other. She only knew he was rich because she had heard people say so when they thought
she was not listening, and she had also heard them say that when she grew up she would be rich, too. She did
not know all that being rich meant. She had always lived in a beautiful bungalow, and had been used to seeing
many servants who made salaams to her and called her "Missee Sahib," and gave her her own way in
everything. She had had toys and pets and an ayah who worshipped her, and she had gradually learned that
people who were rich had these things. That, however, was all she knew about it.
During her short life only one thing had troubled her, and that thing was "the place" she was to be taken to
some day. The climate of India was very bad for children, and as soon as possible they were sent away from it
—generally to England and to school. She had seen other children go away, and had heard their fathers and
mothers talk about the letters they received from them. She had known that she would be obliged to go also,
and though sometimes her father's stories of the voyage and the new country had attracted her, she had been
troubled by the thought that he could not stay with her.
"Couldn't you go to that place with me, papa?" she had asked when she was five years old. "Couldn't you
go to school, too? I would help you with your lessons."
"But you will not have to stay for a very long time, little Sara," he had always said. "You will go to a nice
house where there will be a lot of little girls, and you will play together, and I will send you plenty of books, and
you will grow so fast that it will seem scarcely a year before you are big enough and clever enough to come
back and take care of papa."
She had liked to think of that. To keep the house for her father; to ride with him, and sit at the head of his
table when he had dinner parties; to talk to him and read his books—that would be what she would like most in
the world, and if one must go away to "the place" in England to attain it, she must make up her mind to go. She
did not care very much for other little girls, but if she had plenty of books she could console herself. She liked
books more than anything else, and was, in fact, always inventing stories of beautiful things and telling them to
herself. Sometimes she had told them to her father, and he had liked them as much as she did.
"Well, papa," she said softly, "if we are here I suppose we must be resigned."
He laughed at her old-fashioned speech and kissed her. He was really not at all resigned himself, though he
knew he must keep that a secret. His quaint little Sara had been a great companion to him, and he felt he
should be a lonely fellow when, on his return to India, he went into his bungalow knowing he need not expect to
see the small figure in its white frock come forward to meet him. So he held her very closely in his arms as the
cab rolled into the big, dull square in which stood the house which was their destination.
It was a big, dull, brick house, exactly like all the others in its row, but that on the front door there shone a
brass plate on which was engraved in black letters:
MISS MINCHIN, Select Seminary for Young Ladies.

"Here we are, Sara," said Captain Crewe, making his
voice sound as cheerful as possible. Then he lifted her out of the cab and they mounted the steps and rang the
bell. Sara often thought afterward that the house was somehow exactly like Miss Minchin. It was respectable
and well furnished, but everything in it was ugly; and the very armchairs seemed to have hard bones in them.
In the hall everything was hard and polished—even the red cheeks of the moon face on the tall clock in the
corner had a severe varnished look. The drawing room into which they were ushered was covered by a carpet
with a square pattern upon it, the chairs were square, and a heavy marble timepiece stood upon the heavy
marble mantel.
As she sat down in one of the stiff mahogany chairs,
Sara cast one of her quick looks about her.
"I don't like it, papa," she said. "But then I dare say
soldiers—even brave ones—don't really LIKE going into battle."
Captain Crewe laughed outright at this. He was young
and full of fun, and he never tired of hearing Sara's queer speeches.
"Oh, little Sara," he said. "What shall I do when I have no
one to say solemn things to me? No one else is as solemn as you are."
"But why do solemn things make you laugh so?" inquired
Sara.
"Because you are such fun when you say them," he
answered, laughing still more. And then suddenly he swept her into his arms and kissed her very hard,
stopping laughing all at once and looking almost as if tears had come into his eyes.
The Little Princess

By E. Hill and W. Ferris
[Opening text reads, "England 1899."

Patriotic music plays in background, film of marching men, picture of the Queen of England, shot of English
castles, film of soldiers from many different European countries. showing posters reading “War” Regiment
Departs.]
SCENE 1.
[A man and his daughter wearing

fancy clothes watching a parade of marching men from a horse-drawn carriage.]
SARA: Why are they sending so many
soldiers, Daddy, if it's only gonna be a little war?
CREWE: To make those stubborn

Boers take us seriously this time, my darling. When they realize how much the Intensive will put a stop to their
nonsense, they'll quiet down.
SARA: They better. Anyhow, when

you get there, you'll stop them, won't you, Daddy?
CREWE: I'll do my best, dear.
SARA: I'm gonna miss you.
CREWE: I'll be back and we'll be

together again before you can say "knife."
SARA: I can say "knife" a good many

times in a year.
CREWE: But the school will have

charming little girls to play with, books to read, a pony to ride and, after all, there'll be Emily, you know.
SARA: Yes, [looks down at her doll,

“Emily”] there will be Emily and she does look as though she'll be an understanding friend, don't you think,
Daddy?
CREWE: [Laughing] With that

intellectual forehead, I'm sure of it.
[The man and his daughter exit their

carriage and look upon a large, grey building with gold sign that reads MISS MINCHIN’S ACADEMY]
SARA: [looks up at her father,

apprehensive] Not a very cheerful looking school, is it, Daddy?
CREWE: I'm afraid nothing would

seem very cheerful to us at the moment.
SARA: Well, maybe it'll be better on

the inside.
CREWE: Of course, it will.
Question 3:
Read the excerpt from the novel version of the scene. Then, read the script for the film version of this scene.
Think about what is the same and what is different about the plot, characters, and setting of the story.
A Little Princess
Chapter 1: Sara
It was just then that Miss Minchin entered the room. She was very like her house, Sara felt: tall and dull, and
respectable and ugly. She had large, cold, fishy eyes, and a large, cold, fishy smile. It spread itself into a very
large smile when she saw Sara and Captain Crewe. She had heard a great many desirable things of the young
soldier from the lady who had recommended her school to him. Among other things, she had heard that he
was a rich father who was willing to spend a great deal of money on his little daughter.
"It will be a great privilege to have charge of such a beautiful and promising child, Captain Crewe," she said,
taking Sara's hand and stroking it. "Lady Meredith has told me of her unusual cleverness. A clever child is a
great treasure in an establishment like mine."
Sara stood quietly, with her eyes fixed upon Miss Minchin's face. She was thinking something odd, as usual.
"Why does she say I am a beautiful child?" she was thinking. "I am not beautiful at all. Colonel Grange's little
girl, Isobel, is beautiful. She has dimples and rose-colored cheeks, and long hair the color of gold. I have short
black hair and green eyes; besides which, I am a thin child and not fair in the least. I am one of the ugliest
children I ever saw. She is beginning by telling a story."
She was mistaken, however, in thinking she was an ugly child. She was not in the least like Isobel Grange,
who had been the beauty of the regiment, but she had an odd charm of her own. She was a slim, supple
creature, rather tall for her age, and had an intense, attractive little face. Her hair was heavy and quite black
and only curled at the tips; her eyes were greenish gray, it is true, but they were big, wonderful eyes with long,
black lashes, and though she herself did not like the color of them, many other people did. Still she was very
firm in her belief that she was an ugly little girl, and she was not at all elated by Miss Minchin's flattery.
"I should be telling a story if I said she was beautiful," she thought; "and I should know I was telling a story. I
believe I am as ugly as she is—in my way. What did she say that for?"
After she had known Miss Minchin longer she learned why she had said it. She discovered that she said the
same thing to each papa and mamma who brought a child to her school.
Sara stood near her father and listened while he and Miss Minchin talked. She had been brought to the
seminary because Lady Meredith's two little girls had been educated there, and Captain Crewe had a great
respect for Lady Meredith's experience. Sara was to be what was known as "a parlor boarder," and she was to
enjoy even greater privileges than parlor boarders usually did. She was to have a pretty bedroom and sitting
room of her own; she was to have a pony and a carriage, and a maid to take the place of the ayah who had
been her nurse in India.
"I am not in the least anxious about her education," Captain Crewe said, with his gay laugh, as he held
Sara's hand and patted it. "The difficulty will be to keep her from learning too fast and too much. She is always
sitting with her little nose burrowing into books. She doesn't read them, Miss Minchin; she gobbles them up as
if she were a little wolf instead of a little girl. She is always starving for new books to gobble, and she wants
grown-up books—great, big, fat ones—French and German as well as English—history and biography and
poets, and all sorts of things. Drag her away from her books when she reads too much. Make her ride her
pony in the Row or go out and buy a new doll. She ought to play more with dolls."
"Papa," said Sara, "you see, if I went out and bought a new doll every few days I should have more than I
could be fond of. Dolls ought to be intimate friends. Emily is going to be my intimate friend."
Captain Crewe looked at Miss Minchin and Miss Minchin looked at Captain Crewe. "Who is Emily?" she
inquired.
"Tell her, Sara," Captain Crewe said, smiling.
Sara's green-gray eyes looked very solemn and quite soft as she answered. "She is a doll I haven't got yet,"
she said. "She is a doll papa is going to buy for me. We are going out together to find her. I have called her
Emily. She is going to be my friend when papa is gone. I want her to talk to about him."
Miss Minchin's large, fishy smile became very flattering indeed. "What an original child!" she said. "What a
darling little creature!"
"Yes," said Captain Crewe, drawing Sara close. "She is a darling little creature. Take great care of her for
me, Miss Minchin."
The Little Princess

By E. Hill and W. Ferris
SCENE 2
[Captain Crewe and his daughter Sara exit their horse carriage to
a frenzied scene. Two men are struggling to guide a pony out of the front door of the large, ornate, colonial-
style house. While a woman walks behind them, looking angry.]
MAN 1: Oh, I'm sorry.
BERTIE: We're all sorry. Sorry. So sorry. Get it out.
MINCHIN: [to the men] The very idea of delivering a thing like this
at the front door!
SARA: [recognizing the pony as her own] Oh, look Daddy, my

pony!
MS. MINCHIN: [to the men, sounding upset] Your employer will
answer for this. Now take him away.
BERTIE: Yes ma’am, far away.
SARA: [exclaims] Oh, no, Daddy!
CREWE: [to the woman] Oh, I say. Just a moment. You are Miss
Minchin?
MINCHIN: I am.
CREWE: I am Captain Crewe. I am afraid I've caused you no end

of inconvenience.
MINCHIN: You most certainly have, Captain Crewe!
CREWE: May I step inside and explain?
MINCHIN: Come in.
CREWE: [to them men] Wait here with the pony.
MAN 1: Right-O, Governor.
CREWE: I'm terribly sorry; I didn't mean to have the pony

delivered inside your house.
MINCHIN: There are number of things besides the pony. Parcels

have been arriving here collect to your daughter for hours. Follow me, please.
[Ms. Minchin, Sara, Captain Crewe, and another man walk inside
the house].
Apparently you are not aware, Captain Crewe, that I conduct one
of the most dignified and exclusive schools in London.
CREWE: Oh, yes, yes, so I understood. That's precisely the

reason why I brought my daughter to you.
MINCHIN: [sounding annoyed] I would not have gathered that

from your actions.
CREWE: Really now, I am not entirely to blame. You see, Sara

and I have only just arrived from India. Sara has lived there practically all her life. We've no more than got here
when I learned that my regiment was to leave at once for South Africa. So, we had to act hurriedly.
MINCHIN: But I wrote you, explaining that I do not take young

ladies without an interview and the most impeccable references. I wrote you also that at the moment I had no
vacant rooms.
SARA: Well, in that case, Daddy, we might as well move on.
CREWE: This is a bit awkward. You see, your letter never reached
me. I'm afraid that it hadn't occurred to me that any school wouldn't welcome my little Sara.
MINCHIN: Obviously.
CREWE: If it's a question of my social standing, my father was Sir

George Crewe. You've heard of him, perhaps.
MINCHIN: [looking pleased] Oh, naturally.

CREWE: And the best financial references I can give you would be
the direction of the South African holding syndicate. I'm the principal stockholder in the syndicate.
MINCHIN: [motions in the direction of the unnamed man, smiling

widely now] My brother, Captain Crewe, our professor of elocution and dramatics.
CREWE: How do you do?
BERTIE: Charmed. I'm sure. I say, isn't the Eclipse Diamond Mine
one of your holdings?
CREWE: One of the most important, of course.
BERTIE: Of course.
CREWE: I'm sorry to appear casual, Miss Minchin. The situation is

quite distressing. I sail in an hour from the East Indian Docks.
SARA: [sounding hopeful] I suppose you just have to take me to

Africa with you, Daddy.
MINCHIN: [sounding suddenly kind] Oh, no. And what would a little
girl like you do in Africa? [apologetically] Forgive me, Captain Crewe, I feel I've been over zealous. The
reputation of my school, you know, one has to be so cautious. But after this interview, I can see at a glance.
This is a dear little child. [sounding sweet, but in a fake manner] It'll be a pleasure to have her with us.
SARA: [sounding disappointed] Does that mean I've gotta stay?
MINCHIN: Yes, dear. You're to have that privilege. You and your
little pony.
Question 4:
What is the same or different about the setting of the story as depicted in the film script and the novel?
Both the novel and the film are set during war time.
The novel is set at Sara and Captain Crewe's home, but the film is set at Miss Minchin's
school.
Both the novel and the film scene are set at Miss Minchin's school.
Both the novel and the film are set at Sara and Captain Crewe's home.
Question 5:
What is the same or different about the characters in the story and film version?
The film includes characters that the story does not include.
Both the film and the story include the same characters.
The story includes characters that the film does not include.
Both the film and the story include the same characters but by different names.
Lesson Topic: Determine the artistic effect of changes made in the stage or film version of a
text
Question 1:
In 2012, a movie producer made a film version of the 1978 Newbery Medal winner, Bridge to Terabithia.
The book has scenes in the classroom where the author describes a 1970s elementary school as "short on
everything." In the movie, there are many references made to things that didn’t exist in a 1970s room, such
as modern computers. The teacher even warns the class that nobody better download their papers from the
Internet.
What is the most likely effect of this change?
The theme of the movie will change.
The movie will be more appealing to a current audience.
The mood of the movie will show kids as less fortunate.
The movie will not appeal to as many people as the book.
Question 2:
The Little Princess, 1938
A Little Princess
Chapter 1: Sara
Once on a dark winter's day, when the yellow fog hung so thick and heavy in the streets of London that the
lamps were lighted and the shop windows blazed with gas as they do at night, an odd-looking little girl sat in a
cab with her father and was driven rather slowly through the big thoroughfares.
She sat with her feet tucked under her, and leaned against her father, who held her in his arm, as she
stared out of the window at the passing people with a queer old-fashioned thoughtfulness in her big eyes.
She was such a little girl that one did not expect to see such a look on her small face. It would have been an
old look for a child of twelve, and Sara Crewe was only seven. The fact was, however, that she was always
dreaming and thinking odd things and could not herself remember any time when she had not been thinking
things about grown-up people and the world they belonged to. She felt as if she had lived a long, long time.
At this moment she was remembering the voyage she had just made from Bombay with her father, Captain
Crewe. She was thinking of the big ship, of the Lascars passing silently to and fro on it, of the children playing
about on the hot deck, and of some young officers' wives who used to try to make her talk to them and laugh at
the things she said.
Principally, she was thinking of what a queer thing it was that at one time one was in India in the blazing
sun, and then in the middle of the ocean, and then driving in a strange vehicle through strange streets where
the day was as dark as the night. She found this so puzzling that she moved closer to her father.
"Papa," she said in a low, mysterious little voice which was almost a whisper, "papa."
"What is it, darling?" Captain Crewe answered, holding her closer and looking down into her face. "What is
Sara thinking of?"
"Is this the place?" Sara whispered, cuddling still closer to him. "Is it, papa?"
"Yes, little Sara, it is. We have reached it at last." And though she was only seven years old, she knew that
he felt sad when he said it.
It seemed to her many years since he had begun to prepare her mind for "the place," as she always called
it. Her mother had died when she was born, so she had never known or missed her. Her young, handsome,
rich, petting father seemed to be the only relation she had in the world. They had always played together and
been fond of each other. She only knew he was rich because she had heard people say so when they thought
she was not listening, and she had also heard them say that when she grew up she would be rich, too. She did
not know all that being rich meant. She had always lived in a beautiful bungalow, and had been used to seeing
many servants who made salaams to her and called her "Missee Sahib," and gave her her own way in
everything. She had had toys and pets and an ayah who worshipped her, and she had gradually learned that
people who were rich had these things. That, however, was all she knew about it.
During her short life only one thing had troubled her, and that thing was "the place" she was to be taken to
some day. The climate of India was very bad for children, and as soon as possible they were sent away from it
—generally to England and to school. She had seen other children go away, and had heard their fathers and
mothers talk about the letters they received from them. She had known that she would be obliged to go also,
and though sometimes her father's stories of the voyage and the new country had attracted her, she had been
troubled by the thought that he could not stay with her.
Question 3:
A movie producer wants to make a film version of the famous children's fantasy book The Wizard of Oz.
The producer decides to make the entire movie take place at night and make the characters look scary
rather than friendly as they are portrayed in the book.
What is the most likely effect of this change?
It will change the story to have a lighthearted mood and friendly tone.
It will emphasize the lighthearted mood and friendly tone of the story.
It will emphasize the frightening mood and ominous tone of the story.
It will change the story to have a frightening mood and ominous tone.
Question 4:
The book Little Men by Louisa May Alcott is about the adventures and experiences of students at a school
for boys. In the book, Mrs. Bhaer, who runs the school, owns the building and the land that the school is on.
However, in the 1940 movie that is based on the book, Mrs. Bhaer does not own the building or the land. The
plot centers around the characters' struggle to raise money in order to keep paying rent for the school
building.
What is the most likely reason the filmmakers made this change?
to emphasize the specific theme that hard work accomplishes goals
to make the story applicable to the Depression-era audience's financial struggles
to give the story more entertaining conflict that pushes the plot forward
to create a mood of hardship and struggle more applicable to the time period
all of the above
Question 5:
The book Little Men by Louisa May Alcott is about the adventures and experiences of students at a school
for boys. In the book, Mrs. Bhaer, who runs the school, owns the building and the land that the school is on.
However, in the 1940 movie that is based on the book, Mrs. Bhaer does not own the building or the land. The
plot centers around the characters' struggle to raise money in order to keep paying rent for the school
building.
What is a likely effect of this change?
The theme and topic of the story stay the same.
The story is more applicable to children.
The tone of the story is more tense.
all of the above

Lesson Topic: Analyze aspects of visual texts
Question 1:
Watch the clip below from the movie The Little Princess.
How are costumes used in the scene?
The young girl's costume illustrates she comes from a wealthy family.
Captain Crewe's costume illustrates he is a civilian.
Ms. Minchin's costume illustrates she is friendly and welcoming.
The soldiers' costumes illustrate they are on opposing teams.
all of the above
Question 2:
Watch the scene from the movie The Snows of Kilimanjaro. Think about how camera angles, lighting,
costumes, and props are used to portray the story.
Question 3:
How could you convey a bright, hot summer day on stage?
bright lighting
characters wearing bathing suits and shorts
beach balls and crashing waves as props
all of the above
Question 4:
Watch the video clip below from the movie Attack of the Giant Leeches.
Which visual tool has the most impact on the mood and tone of the scene?
camera angles
costumes
lighting
props
Question 5:
What is the overall mood of the scene?
suspenseful
lighthearted
violent
peaceful
Lesson: Fictional Portrayals of History
Lesson Topic: Distinguish between historical fiction and historical accounts
Question 1:
Read the following excerpt from "Hiawatha" by Emily McGee.
We do not have much information about Hiawatha, largely because he lived in the 15th or 16th century,
and records from that time period do not include much detailed information about Native American leaders or
tribes. According to several sources, Hiawatha was a gifted speaker who often spoke on behalf of his spiritual
leader, The Great Peacemaker. Together, the two men convinced several Native American groups to join the
Iroquois confederacy.
How do you know this is an example of a historical account, and not historical fiction?
The passage focuses more on the facts of Hiawatha's life, without telling a story.
The passage is about Hiawatha, a real person, but not all the details in the passage are
true.
The setting of the passage is in the past.
The author is focused on telling a story, with a plot, that includes some factually accurate
details.
Question 2:
Read the following excerpt from "Hiawatha's Childhood" by Henry Wadsworth Longfellow.
When he heard the owls at midnight,

Hooting, laughing in the forest,
"What is that?' he cried in terror;
"What is that," he said, "Nokomis?"
And the good Nokomis answered;
"That is but the owl and owlet,
Talking in their native language,
Talking, scolding at each other."
Then the little Hiawatha
Learned their names and all their secrets,
How they built their nests in summer,
Where they hid themselves in winter,
Talked with them whene'er he met them,
Called them "Hiawatha's Chickens."
Of all beasts he learned the language,
Learned their names and all their secrets,
How the beavers built their lodges,
Where the squirrels hid their acorns,
How the reindeer ran so swiftly,
Why the rabbit was so timid,
Talked with them whene'er he met them,
Called them "Hiawatha's Brothers."
How do you know this is an example of historical fiction, and not a historical account?
The setting of the story is in the past.
The poem includes details that cannot be verified.
The poet is concerned with the poetic form more than an accurate retelling.
The poem focuses more on the facts of Hiawatha's childhood, without telling a story.
Question 3:
I've reached a crossroad in my life, Helen thought to herself. My work with the American Foundation for
the Blind has always been my top priority. Helen had single-handedly raised more than ten thousand dollars
for the organization through her lecture tours and appearances. But now her involvement with the NAACP
and the women's suffrage movement was impeding her ability to contribute to the American Foundation for
the Blind. Some of the Foundation's board members had even threatened to withdraw their support, for fear
that Helen would actually draw negative attention. It's time to decide where my loyalties lie.
Is this passage an example of historical fiction or a historical account?
historical fiction
historical account
Question 4:
School lessons about Alabama native Helen Keller often revolve around her courageousness in the face
of her disabilities. They describe how, without the ability to see or hear, Keller learned to read and write, and
achieved great physical and academic feats. With the aide of Anne Sullivan, Keller attended Radcliffe College
and graduated at the top of her class in 1904. It is her time with Sullivan at Radcliffe that partially inspired her
foray into feminism and activism. Keller would soon adopt a socialist philosophy that marred her once
unanimously positive public opinion.
During Keller's course of study at Radcliffe, her extensive academic readings brought different economic
and social philosophies to her attention. She began to see the connection between social and economic
inequality and how these factors could conspire to make life difficult for some. In 1908, Sullivan's husband
lent Helen some of his books, including writings by H.G. Wells and Karl Marx, two well-known socialists.
-Adapted from "Helen Keller, Social Activist" by Heather Henderson
historical fiction
historical account
Question 5:
Vice President Andrew Johnson rubbed his temples. He had been awake since dawn, reading reports
about how the Union was faring in the war. Johnson was optimistic that all this strife would be over soon, and
the country would be reunited.
A knock on the door startled Johnson from his daydream. He groaned and stood up from the hard chair
he had been sitting in for ours. Stretching his arms to the ceiling, Johnson wondered if it was the maid,
coming yet again to remind him that his wife wanted him to leave the White House and come home.
Johnson was surprised to see the young boy at the door, gasping for breath.
"Sir, the President has been shot," the boy managed to say between ragged breaths.
historical fiction
historical account
Lesson Topic: Compare and contrast historical fiction and historical accounts
Question 1:
Read the following texts. The first is an example of historical fiction, while the second is a historical account.
The breaking waves dashed high

On a stern and rock-bound coast,
And the woods against a stormy sky
Their giant branches tossed;
And the heavy night hung dark,

The hills and waters o'er,
When a band of exiles moored their bark
On the wild New England shore.
Not as the conqueror comes,

They, the true-hearted came;
Not with the roll of the stirring drums,
And the trumpet that sings of fame;
Not as the flying come,

In silence and in fear;
They shook the depths of the desert gloom
With their hymns of lofty cheer.
Amidst the storm they sang,

And the stars heard, and the sea;
And the sounding aisles of the dim woods rang
To the anthem of the free.
The ocean eagle soared

From his nest by the white wave's foam;
And the rocking pines of the forest roared—
This was their welcome home.
There were men with hoary hair

Amidst the pilgrim band:
Why had they come to wither there,
Away from their childhood's land?
What sought they thus afar?

Bright jewels of the mine?
The wealth of seas, the spoils of war?
They sought a faith's pure shrine!
Ay, call it holy ground,

The soil where first they trod;
They have left unstained what there they found—
Freedom to worship God.
-From "Landing of the Pilgrim Fathers" by Felicia Dorthea Hemans
In England, King Henry VIII started the independent Church of England, also known as the Anglican or
Episcopal Church. Most of the countries surrounding England did not agree with the King's decision. Many
people in England did not agree either. Some wanted the Anglican Church to be more like the old Catholic
church. Others wanted it to be even more simple and to rely more on Bible teachings than ceremony.
Near the end of the 1500s, a number of groups began to form in England with renewed interest in trying
to establish different church practices. One of these groups was called "Puritans" because they wanted to
make the existing Anglican church more "pure" and simple.
As different Kings and Queens took over ruling England throughout this period they had different ideas
about religious practices. When King James came along, the Pilgrims thought they might finally be able to
ask for permission to set up their own church. But the King denied the request, and the Pilgrims decided to
leave England and move to Holland, where freedom of religion was accepted.
After several years of living in Holland, the Pilgrims became restless and unhappy. Their children wanted
to speak Dutch instead of English and they missed other things about English life as well. Their leaders,
William Bradford, Reverend John Robinson and several others worked out a plan to move the entire Pilgrim
church group to America. That way they could still be English.
-From "Pilgrims" by the National Park Service
According to both texts, what is one major reason why the Pilgrims came to America?
The Pilgrims came to America for the freedom to practice their religion.
The Pilgrims came to America to escape the war in Europe.
The Pilgrims came to America to seek their fortunes.
The Pilgrims came to America so that their children could learn to speak English.
Question 2:
Even though this text is called "A Journal" and is written in the first person, it's actually considered fictional.
Defoe wrote it 60 years after the event.
Adapted from
A Journal of the Plague Years
By Daniel Defoe
It was about the beginning of September, 1664, that I, among the rest of my neighbors, heard that the
plague was returned again in London. It was brought, some said from Italy, others from the Levant, among
some goods which were brought home by their Turkey fleet; others said it was brought from Candia; others
from Cyprus. It mattered not from whence it came; but all agreed it was come into London again.
The face of London was—now indeed strangely altered. I mean the whole mass of buildings, city, liberties,
suburbs, Westminster, Southwark, and altogether; for as to the particular part called the city, or within the
walls, that was not yet much infected. But in the whole the face of things, I say, was much altered. Sorrow and
sadness sat upon every face.
Though some parts of the city were not yet overwhelmed, yet all looked deeply concerned. As we saw the
plague coming on, so every one looked on himself and his family as in the utmost danger. Were it possible to
represent those times exactly to those that did not see them, and give the reader due ideas of the horror that
everywhere presented itself, it must make just impressions upon their minds and fill them with surprise. London
might well be said to be all in tears. The mourners did not walk about in the streets, for fear of catching the
disease. Nobody put on black or made a formal dress of mourning for their nearest friends because there was
too much work to be done. But the voice of mourners was truly heard in the streets. The shrieks of women and
children at the windows and doors of their houses, where their dearest relations were perhaps dying, or just
dead, were so frequent to be heard as we passed the streets, that it was enough to pierce the stoutest heart in
the world to hear them. Tears and lamentations were seen almost in every house, especially in the early days
of the plague. Towards the latter end men's hearts were hardened. Death was always before their eyes, that
they did not so much concern themselves for the loss of their friends, expecting that themselves might die the
next hour.
Question 3:
The Great Plague of London

By Orion Shoden
The bubonic plague, commonly known as "the plague", is a bacterial infection that is spread to humans
through flea bites. Historically, the bubonic plague has been extremely deadly, killing about 60 percent of
victims within 4 days of infection.
Archaeological records show plague outbreaks as early as the 6th century. One of the last major outbreaks
in Europe occurred in England from 1664-1666. An estimated 15 percent of London's population died in the
outbreak.
One major factor that influenced the plague outbreak in England was the poor sanitation conditions in the
city. Many people had move to London from the countryside to build a better life for themselves. They crowded
into wooden shacks with no toilets or running water. These areas soon became infested with rats. The rats
often had fleas, and the fleas carried the bacteria for the bubonic plague.
At the time, no one knew what caused the bubonic plague. People speculated that unusual weather or the
strange behavior of farm animals could be to blame. Others thought that the plague was caused by some
pestilence being released from the earth. It wasn't until 1894 that a scientist discovered that the rat flea carried
the disease.
Question 4:
Which of the following events is portrayed in both texts?
the spread of the bubonic plague from Europe to England
the bubonic plague outbreak in England
the spread of the bubonic plague from rats to humans
the bubonic plague outbreak in Italy
Question 5:
What setting from the historical fiction passage is also mentioned in the historical account?
the 6th century
London
Italy
the year 1664
Lesson Topic: Determine how and why fiction authors alter history in their texts
Question 1:
An author is writing a novel about a teenage girl who accuses local women of practicing witchcraft during the
Salem Witch Trials of 1692. The author is using the novel to share his point of view that the Salem Witch Trials
had a simple cause: the "bewitched" girls had accidentally been poisoned by contaminated rye bread. Which of
the following historical facts would the author need to alter to support his view?
Ergot poisoning has been linked to many strange events throughout history.
Most people in Salem in 1692 had no symptoms of ergot poisoning.
Ergot poisoning can cause hallucinations, convulsions, and psychosis.
The fungus ergot is poisonous and can be found in contaminated rye.
Question 2:
The following passage is a historical account of the Civil War.
Excerpted from
Civilians as Caregivers
By The National Park Service
Mrs. Abba A. Goddard traveled over 600 miles from Portland, Maine to care for the soldiers of her
hometown's 10th Maine Infantry at Clayton. She was named "Matron of the General Hospital." Despite the
limited medical services and comforts provided by the government, Goddard worked to make the hospital as
comfortable as possible. Within two weeks of her arrival, she solicited donations from civilians and received
seventeen boxes filled with slippers, socks, fans, pin cushions, towels, handkerchiefs and checkerboards.
The future of the soldiers under her care worried the Matron. "When I look at our host of maimed--some
without an arm, some without a leg, others minus a foot--and realize their privation is life-long . . . I can hardly
restrain my tears."
In early September, the hospital was closed and the patients moved to nearby Frederick, Maryland. "The
cause of this sudden removal is a mystery," Goddard reported. "I am informed that some important events are
about to transpire." She did not know that approximately 28,000 Confederates were marching on Harpers
Ferry and that many more wounded would soon be in need of assistance.
Nearly 10,000 soldiers passed through the Frederick hospitals alone in the aftermath of the Maryland
Campaign. Many of the patients who could be safely moved were quickly transferred by railroad to the large
hospitals in Baltimore, Washington and Philadelphia. Many others were treated in Frederick until they
recovered enough to be transferred, discharged or returned to their units.
The patients were treated by a combination of Army and civilian surgeons, volunteer female nurses,
enlisted male nurses, medical cadets, cooks, and laundresses. In addition to the medical staff and employees,
many private citizens helped out as they could. Supplemental food, clothing, medical supplies and various
personal items were donated to the hospital and the patients by the Frederick Ladies Relief Association and
other private groups.
Question 3:
While you read the following text, look for places where the author has altered the historical record.
A Soldier's Last Breath

By Tovah Ehbert
Simply opening my eyes made my head explode and my ears ring. Candlelight flickered in the distance, and
the stench of dried blood sat thickly in the air. Something metallic pressed against my lips, and I pushed it
away.
"Now look what you've done, you've spilled soup all over the bed," the nurse whispered angrily.
"Soup?" I said. Then, never one to forget my mannered upbringing, I followed with "I'm sorry, ma'am."
"Now I've got to get new bedding," she grumbled.
I apologized again, and asked the woman who she was, and where we were. The last thing I remembered
was lying, belly-down, on the grass of some forsaken field in Virgina.
"I'm Mrs. Goddard," she said. "And you're in the hospital in Harper's Ferry, Virginia."
I gestured for her to continue.
"There are many men here, many worse off than you. Men who have lost an arm or a leg in the fighting, or
from infection. There is never enough food, water, or blankets here for you all, but I have taken it upon myself
to ask the neighboring ladies to donate to us."
"That's mighty kind of you," I said.
"I don't have another choice," she scoffed.
Question 4:
In the fictional passage, what is the most likely reason why the author portrayed Mrs. Goddard as more angry
than the historical record showed?
to emphasize how stressed she is feeling
to emphasize how stressed the narrator is feeling
to emphasize that she is an evil person
to emphasize her excellent nursing skills
Question 5:
What is the most likely reason why the author chose to write the text from the soldier's perspective?
to emphasize that Mrs. Goddard felt stressed out by the demands of her work
to share the voice of someone who is not mentioned in the historical record
to share the author's opinion that too many soldiers died in the Civil War
to share the author's opinion that soldiers worked harder than nurses
Correct Answers
Lesson: Citing Textual Evidence

Lesson Topic: Cite textual evidence to support a claim
Question 1:
Question 2:
MC4
Question 3:
MC4
Question 4:
MC3
Question 5:
MC2
Lesson Topic: Make inferences

Question 1:
MC1
Question 2:
MC4
Question 3:
MC3
Question 4:
MC4
Question 5:
MC4
Lesson Topic: Support inferences with evidence

Question 1:
Question 2:
MC2
Question 3:
MC4
Question 4:
MC1
Question 5:
MC3
Lesson Topic: Distinguish between explicit and implicit information

Question 1:
MC1
Question 2:
MC2
Question 3:
MC2
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Provide multiple pieces of evidence to support analysis

Question 1:
Question 2:
MC2 | MC3 | MC4
Question 3:
MC1 | MC2 | MC4 | MC5
Question 4:
MC2 | MC4
Question 5:
MC2 | MC3
Lesson: Themes
Lesson Topic: Distinguish between theme and main idea
Question 1:
MC2
Question 2:
MC2
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Identify stated and unstated theme

Question 1:
MC1
Question 2:
MC1
Question 3:
MC1
Question 4:
MC2
Question 5:
MC1
Lesson Topic: Recognize how different elements develop theme

Question 1:
MC2
Question 2:
MC3
Question 3:
MC3
Question 4:
MC4
Question 5:
MC3
Lesson Topic: Identify the theme of an image

Question 1:
MC3
Question 2:
MC3
Question 3:
MC2
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Identify the theme by analyzing character quotes, actions and traits
Question 1:
Question 2:
MC1
Question 3:
MC1
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Compare internal and external conflict

Question 1:
MC1
Question 2:
MC3
Question 3:
MC1
Question 4:
Question 5:
MC5
Lesson Topic: Identify theme by analyzing conflicts in a text
Question 1:
MC4
Question 2:
MC2
Question 3:
Question 4:
MC4
Question 5:
MC1
Lesson Topic: Identify common literary symbols

Question 1:
MC2
Question 2:
MC1
Question 3:
MC4
Question 4:
MC1
Question 5:
MC4
Lesson Topic: Identify theme by analyzing literary symbols

Question 1:
MC5
Question 2:
MC3
Question 3:
MC4
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Identify the theme of a literary text

Question 1:
MC5
Question 2:
MC2
Question 3:
MC2 | MC4
Question 4:
MC5
Question 5:
MC3
Lesson: Summaries
Lesson Topic: Identify key ideas using the 5Ws and an H
Question 1:
Question 2:
Question 3:
MC3
Question 4:
MC2
Question 5:
MC2
Lesson Topic: Differentiate between key ideas and supporting details

Question 1:
Question 2:
Question 3:
MC3
Question 4:
MC3
Question 5:
Lesson Topic: Write an effective summary

Question 1:
Question 2:
MC4
Question 3:
MC3
Question 4:
MC2
Question 5:
Lesson Topic: Write an objective summary

Question 1:
MC3
Question 2:
MC4
Question 3:
MC1
Question 4:
MC6
Question 5:
MC1
Lesson: Interactive Elements of Stories

Lesson Topic: Analyze how conflict drives plot
Question 1:
MC1 | MC2 | MC3
Question 2:
MC2
Question 3:
MC2
Question 4:
MC2
Question 5:
Lesson Topic: Understand how the protagonist and antagonist drive action
Question 1:
MC2
Question 2:
Question 3:
MC1
Question 4:
MC1
Question 5:
MC2 | MC3
Lesson Topic: Analyze how characters affect plot

Question 1:
MC1
Question 2:
Question 3:
MC1
Question 4:
MC1 | MC4
Question 5:
MC3 | MC5
Lesson Topic: Analyze how plot affects characters

Question 1:
MC3
Question 2:
Question 3:
MC1 | MC4 | MC5
Question 4:
MC3
Question 5:
Lesson Topic: Analyze how characters and plot affect theme

Question 1:
MC4
Question 2:
MC1
Question 3:
MC4
Question 4:
Question 5:
MC3
Lesson Topic: Analyze setting as a shaping force

Question 1:
MC1 | MC4
Question 2:
MC4
Question 3:
MC1
Question 4:
MC3
Question 5:
MC4
Lesson Topic: Analyze how shifts in setting affect plot and character
Question 1:
MC3 | MC5
Question 2:
MC2
Question 3:
MC2 | MC3
Question 4:
MC2 | MC5
Question 5:
MC2 | MC3
Lesson Topic: Analyze the effects of hypothetical plot and setting changes
Question 1:
MC2 | MC4
Question 2:
Question 3:
MC3
Question 4:
MC2
Question 5:
MC2 | MC4
Lesson Topic: Analyze the effects of hypothetical character changes

Question 1:
MC1 | MC2
Question 2:
MC4
Question 3:
MC2
Question 4:
MC2 | MC4
Question 5:
MC4
Lesson: Connotation
Lesson Topic: Determine the connotation of a word
Question 1:
MC3
Question 2:
MC2
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Interpret shades of meaning using connotation

Question 1:
MC1
Question 2:
MC2
Question 3:
MC2 | MC3 | MC5
Question 4:
MC2
Question 5:
MC1
Lesson: Figurative Language

Lesson Topic: Identify figurative language
Question 1:
MC1
Question 2:
MC1
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Interpret similes

Question 1:
MC4
Question 2:
MC2 | MC5
Question 3:
MC2
Question 4:
MC2
Question 5:
MC1
Lesson Topic: Interpret metaphors

Question 1:
MC1
Question 2:
MC1 | MC4
Question 3:
MC1
Question 4:
MC1
Question 5:
MC4
Lesson: Rhyme and Sound Devices

Lesson Topic: Identify alliteration, assonance, and consonance
Question 1:
MC2
Question 2:
MC1
Question 3:
MC1
Question 4:
MC2
Question 5:
MC1
Lesson Topic: Identify onomatopoeia

Question 1:
MC1 | MC3 | MC4
Question 2:
MC1 | MC2 | MC3
Question 3:
MC1 | MC3 | MC4
Question 4:
MC1
Question 5:
MC3
Lesson Topic: Identify rhyme scheme

Question 1:
MC1
Question 2:
MC2
Question 3:
MC1
Question 4:
MC3
Question 5:
MC3
Lesson Topic: Determine the effect of sound devices

Question 1:
MC2
Question 2:
MC1
Question 3:
MC2
Question 4:
MC4
Question 5:
MC3
Lesson: Structure of Drama

Lesson Topic: Identify the parts of a script
Question 1:
MC3
Question 2:
MC3
Question 3:
MC2
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Differentiate between scenes and acts in drama

Question 1:
MC2
Question 2:
MC3
Question 3:
MC1
Question 4:
MC2
Question 5:
MC2
Lesson Topic: Understand the importance of dialogue in drama

Question 1:
MC3
Question 2:
MC1
Question 3:
MC4
Question 4:
MC2
Question 5:
MC3
Lesson Topic: Understand the importance of monologues, soliloquies, and asides in a drama
Question 1:
MC3
Question 2:
MC2
Question 3:
MC4
Question 4:
MC2
Question 5:
MC3
Lesson Topic: Understand stage directions in a drama

Question 1:
MC3
Question 2:
MC4
Question 3:
MC2
Question 4:
MC1
Question 5:
MC3
Lesson Topic: Differentiate between dialogue and stage directions in a drama

Question 1:
MC1
Question 2:
MC2
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Identify settings and setting descriptions

Question 1:
MC4
Question 2:
MC2
Question 3:
MC4
Question 4:
MC3
Question 5:
MC2
Lesson Topic: Analyze plot structure in drama

Question 1:
Question 2:
MC1
Question 3:
MC4
Question 4:
MC5
Question 5:
MC2 | MC3
Lesson Topic: Analyze theme development in drama

Question 1:
Question 2:
MC3
Question 3:
MC4
Question 4:
MC3
Question 5:
MC2
Lesson Topic: Compare comedies and tragedies

Question 1:
MC4
Question 2:
MC1
Question 3:
MC1
Question 4:
MC2
Question 5:
MC1
Lesson: Structure of Poetry

Lesson Topic: Identify stanzas and lines within a poem
Question 1:
MC2 | MC4
Question 2:
MC2
Question 3:
MC2
Question 4:
MC2
Question 5:
MC3
Lesson Topic: Differentiate between internal and end rhyme

Question 1:
MC1 | MC2
Question 2:
MC3
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Identify a poem’s rhyme scheme

Question 1:
MC3
Question 2:
MC3
Question 3:
MC2
Question 4:
MC1
Question 5:
MC1
Lesson Topic: Identify and describe meter within a poem

Question 1:
MC3
Question 2:
MC4
Question 3:
MC4
Question 4:
MC2
Question 5:
MC3
Lesson Topic: Identify stressed and unstressed syllables in a poem

Question 1:
MC1
Question 2:
MC1
Question 3:
MC3
Question 4:
MC2
Question 5:
MC3
Lesson Topic: Differentiate between lyric poetry and narrative poetry
Question 1:
MC2
Question 2:
MC1
Question 3:
MC2
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Recognize sonnets and villanelles

Question 1:
MC2
Question 2:
MC1
Question 3:
MC2
Question 4:
MC3
Question 5:
MC2
Lesson Topic: Recognize odes, ballads, and free-verse poems

Question 1:
MC2
Question 2:
MC3
Question 3:
MC5
Question 4:
MC3
Question 5:
MC4
Lesson: Narrative Point of View

Lesson Topic: Determine the identity of the narrator
Question 1:
MC4
Question 2:
MC1
Question 3:
MC1
Question 4:
MC1
Question 5:
MC4
Lesson Topic: Identify first-person point of view

Question 1:
MC4
Question 2:
MC4
Question 3:
MC1
Question 4:
MC4
Question 5:
MC3
Lesson Topic: Identify third-person point of view

Question 1:
MC1
Question 2:
MC1
Question 3:
MC4
Question 4:
MC3
Question 5:
MC1
Lesson Topic: Identify third-person limited and third-person omniscient point of view
Question 1:
MC2
Question 2:
MC1
Question 3:
MC3
Question 4:
MC4
Question 5:
MC4
Lesson Topic: Identify all points of view

Question 1:
MC3
Question 2:
MC1
Question 3:
MC1
Question 4:
MC4
Question 5:
MC4
Lesson: Point of View

Lesson Topic: Distinguish between narrative point of view and point of view
Question 1:
MC1
Question 2:
MC2
Question 3:
MC2
Question 4:
MC2
Question 5:
MC2
Lesson Topic: Understand how dialogue, thoughts, and actions develop point of view
Question 1:
MC4
Question 2:
MC4
Question 3:
MC3
Question 4:
MC3
Question 5:
MC3
Lesson Topic: Compare and contrast different characters' points of view

Question 1:
Question 2:
MC3
Question 3:
MC4
Question 4:
MC1
Question 5:
MC1
Lesson: Characterization
Lesson Topic: Contrast flat and round characters
Question 1:
Question 2:
Question 3:
MC3
Question 4:
MC2
Question 5:
MC2
Lesson Topic: Contrast static and dynamic characters

Question 1:
MC1
Question 2:
Question 3:
Question 4:
MC1
Question 5:
MC2
Lesson Topic: Contrast protagonists and antagonists

Question 1:
MC1
Question 2:
MC2
Question 3:
MC2
Question 4:
MC2 | MC3
Question 5:
MC2
Lesson Topic: Contrast main characters and foils

Question 1:
Question 2:
Question 3:
MC2
Question 4:
MC2
Question 5:
MC3
Lesson: Multimedia Elements

Lesson Topic: Compare and contrast a written text to its audio version
Question 1:
MC4
Question 2:
Question 3:
MC2
Question 4:
MC3
Question 5:
MC2
Lesson Topic: Compare and contrast a story or drama to its stage or film version
Question 1:
MC4
Question 2:
Question 3:
Question 4:
MC3
Question 5:
MC1
Lesson Topic: Determine the artistic effect of changes made in the stage or film version of a
text
Question 1:
MC2
Question 2:
Question 3:
MC4
Question 4:
MC5
Question 5:
MC3
Lesson Topic: Analyze aspects of visual texts

Question 1:
MC1
Question 2:
Question 3:
MC4
Question 4:
MC3
Question 5:
MC1
Lesson: Fictional Portrayals of History

Lesson Topic: Distinguish between historical fiction and historical accounts
Question 1:
MC1
Question 2:
MC2 | MC3
Question 3:
MC1
Question 4:
MC2
Question 5:
MC1
Lesson Topic: Compare and contrast historical fiction and historical accounts
Question 1:
MC1
Question 2:
Question 3:
Question 4:
MC2
Question 5:
MC2 | MC4
Lesson Topic: Determine how and why fiction authors alter history in their texts
Question 1:
MC2
Question 2:
Question 3:
Question 4:
MC1
Question 5:
MC2

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Lesson: Citing Textual Evidence

Lesson Topic: Cite textual evidence to support a claim

It translates very simple words like "mother" and "father."

"Sara knew nothing whatever of French."

-Adapted from Cedric, The Forester by Bernard Gay Marshall

The narrator has never been to Italy.

The narrator loves the music made by lutes and violins.

The narrator wants to become an armorer.

The narrator is upset with his father.

-Adapted from Cedric, The Forester by Bernard Gay Marshall

The Montmorencys have no taste in music.

The Montmorencys are Italian royalty.

The Montmorencys dislike the narrator's father.

The Montmorencys are frequently at war.

-Adapted from Cedric, The Forester by Bernard Gay Marshall

His father is overjoyed to leave his unhappy marriage.

His father is intimidated by his intelligent and beautiful mother.

-Adapted from Cedric, The Forester by Bernard Gay Marshall

The narrator is unusually strong for his age.

The narrator is also afraid for the safety of the castle.

The narrator is constantly annoying his mother.

The narrator is obedient and respects his mother.

-Adapted from Cedric, The Forester by Bernard Gay Marshall

The narrator thinks that he is more intelligent than his father.

The narrator is angry at himself for not speaking up in the conversation.

Read the following passage, which continues Oliver's story.

The Windy Hill

The Great Quest

Check all that are true.

The smith is the one who answers Joe's question.

The smith has "habitual guests" who visit him.

Joe says, "My curiosity prevailed over my sense of duty."

Check all that are true.

The smith says that he "left town—well, in a hurry."

Check all that are true.

Joe has to ask, "Of whom are you talking?"

Check all that are true.

Is "friendship" a theme or a main idea?

Rapid changes often cause people to question their own identities.

It is easy to envy the situation of another person.

the task of whitewashing a fence

Read the excerpt below.

If you were coming in the fall,

If I could see you in a year,

-From "If You Were Coming in the Fall" by Emily Dickinson

What is the unstated theme of this passage?

We want time to go faster when we miss someone.

We want time to go slowly when we miss someone.

We can control time whenever we want.

We don't think about people when we miss them.

Read the story below.

Does this story contain a stated or an unstated theme?

Read the story below.

-Adapted From Tales of Old Japan by Algernon Bertram Freeman-Mitford

Does this story contain a stated or an unstated theme?

Read the story below.

"Let us write a book," they said; "but what shall it be about?"

Does this story contain a stated or an unstated theme?

Read the story below.

-Adapted from The Donkey and the Mule by Aesop

What is the stated theme of this passage?

We are treated according to our deeds.

We must carry our burdens alone.