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LANGUAGE ARTS
PATTERNS OF PRACTICE
Gail E. Tompkins
NINTH
EDITION
contents vii
MONITOR: Check Your Understanding 78

YOUNG CHILDREN LEARN TO WRITE 79
Introducing Young Children to Writing 80
Interactive Writing 80
Summing Up 83
EVALUATE & REFLECT: Assess Your Learning 84
References 84
Part 2 The Big Six: Listening, Talking, Reading, Writing,

Viewing, and Visually Representing
Chapter 4
Oral Language: Listening and Talking 86
PLAN: Preview the Learning Outcomes 86

Vignette: Second Graders Read Folktales 86
LISTENING 90
Types of Listening 90
Reading Aloud 94
Persuasion 96
TALK 98
Talking in Small Groups 98
Discussions 100
Oral Reports 103
Interviews 104
Debates 104
TEACHING ORAL LANGUAGE 106
Addressing the Standards 107
Minilessons 107
Mentor Texts 107
Taking Notes 107
THE DIGITAL CLASSROOM: Oral Language 110
ENGAGING ENGLISH LEARNERS: How Do Teachers Adapt Oral Language
Activities? 111
Assessing Oral Language 112
Summing Up 113
References 114
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viii contents
Chapter 5
Written Language: Reading and Writing 116
PLAN: Preview Learning Outcomes 116

Vignette: Ms. Kakutani Uses the Reading Process 116
THE READING PROCESS 121
Stage 1: Prereading 122
Stage 2: Reading 122
Stage 3: Responding 125
Stage 4: Exploring 125
Stage 5: Applying 127
Teaching the Reading Process 128
THE WRITING PROCESS 130
Stage 1: Prewriting 131
Stage 2: Drafting 132
Stage 3: Revising 133
Stage 4: Editing 135
Stage 5: Publishing 138
THE DIGITAL CLASSROOM: Online Publishing 139
Teaching the Writing Process 139
The Writer’s Craft 140
ENGAGING ENGLISH LEARNERS: How Do Teachers Adapt the Writing Process? 144
Reading and Writing Are Reciprocal Processes 146
Summing Up 146
References 147
Chapter 6
Visual Language: Viewing and Visually

Representing 149
Vignette: Eighth Graders Learn About Irony 149
VISUAL ELEMENTS 153
Color 153
Line 156
Symbols 158
Humor 160

contents ix
Teaching Visual Language 163

THE DIGITAL CLASSROOM: Visual Learning Tools 164
VIEWING 166
Art Appreciation 166
Visual Language in Books 169
VISUALLY REPRESENTING 176
Artistic Representations 176
Graphic Representations 177
Dramatic Representations 178
Summing Up 181
References 181
Part 3 Instructional Practices: Implementing the Standards

Chapter 7
Building Vocabulary 184

Vignette: Eighth Graders Study Words 184
HISTORY OF THE ENGLISH LANGUAGE 187
Old English (a.d. 450–1100) 187
Middle English (1100–1500) 188
Modern English (1500–Present) 188
Learning About Word Histories 189
WORDS AND THEIR MEANINGS 189
Morphological Information 190
Root Words 190
Synonyms and Antonyms 193
Homonyms 195
Multiple Meanings 196
Idioms 198
Borrowed Words 198
TEACHING STUDENTS ABOUT WORDS 199
Targeting Words to Teach 201
Word-Learning Strategies 202
Word Walls 204

x contents
Word-Study Activities 205

Minilessons 209
THE DIGITAL CLASSROOM: Digital Tools for Teaching Vocabulary 209
Differentiating Instruction 209
ENGAGING ENGLISH LEARNERS: How Do Teachers Teach Vocabulary? 211
Assessing Vocabulary Knowledge 212
Summing Up 213
References 214
Chapter 8
Comprehending and Composing Stories 216

Vignette: Fifth Graders Read a Novel 216
CONCEPT OF STORY 220
Elements of Story Structure 221
Story Genres 229
Narrative Devices 229
Teaching Students About Stories 231
THE DIGITAL CLASSROOM: Digital Tools for Reading and Writing
Stories 232
ENGAGING ENGLISH LEARNERS: How Do Teachers Teach Story Structure? 236
Assessing Students Knowledge About Stories 236
Monitor: Check Your Understanding 237
COMPREHENDING STORIES 237
Guided Reading 237
Readers Theatre 237
Responding to Stories 238
Retelling Stories 240
WRITING STORIES 243
Written Retellings 243
Story Innovations 244
Genre Stories 245
Personal Narratives 246
Original Stories 246
Summing Up 247
Evaluate & Reflect: Assess Your Learning 248
References 248

contents xi
Chapter 9
Investigating Nonfiction 250

Vignette: Kindergartners Learn About Fish 250
THE NONFICTION GENRE 254
Nonfiction Books 255
Expository Text Structures 259
Comparing Fiction and Nonfiction Books 260
RESEARCH 261
The Research Process 262
Research Tools 263
THE DIGITAL CLASSROOM: Online Note-Taking Tools 265
Reporting 265
Multigenre Projects 271
Life Stories 273
TEACHING NONFICTION 275
Research Workshop 277
Nonfiction Strategies 277
Minilessons 277
Mentor Texts 280
Plagiarism 280
ENGAGING ENGLISH LEARNERS: How Do Students Use Writing to Facilitate Learning? 280
Assessing Nonfiction Projects 281
Summing Up 282
References 283
Chapter 10
Exploring Poetry 285

Vignette: Sixth Graders Participate in Poetry Workshop 285
PLAYING WITH WORDS 289
Laughing With Language 289
Experimenting With Rhyme 290
THE POETRY GENRE 291
Poems Students Read 291

xii contents
Poems Students Write 292

Poetic Devices 300
TEACHING POETRY 303
How to Read Poems 304
Teaching Students to Write Poems 308
Minilessons 310
Mentor Texts 310
THE DIGITAL CLASSROOM: Digital Poetry 310
ENGAGING ENGLISH LEARNERS: Do ELs Really Need to Study Poetry? 312
Assessing Poetry 312
SUMMING UP 313
References 314
Chapter 11
Language Tools: Grammar, Spelling,

and Handwriting 316
Vignette: Fifth Graders Learn Grammar Through Literature 316
GRAMMAR 321
Grammar Concepts 321
Teaching Grammar 325
ENGAGING ENGLISH LEARNERS: How Do Teachers Teach Grammar? 330
Assessing Students’ Knowledge About Grammar 330
SPELLING 331
Invented Spelling 331
Stages of Spelling Development 332
Spelling Strategies 334
Analyzing Students’ Spelling Development 334
Teaching Spelling 336
ENGAGING ENGLISH LEARNERS: How Do Teachers Adapt Spelling Instruction? 342
Assessing Students’ Spelling Development 343
HANDWRITING 344
Handwriting Forms 345
Students’ Handwriting Development 345

contents xiii
Teaching Handwriting 346

Left-Handed Writers 347
Correcting Handwriting Problems 349
THE DIGITAL CLASSROOM: Keyboarding 350
Summing Up 351
Evaluate & Reflect: Assess Your Learning 351
References 352
Chapter 12
Putting It All Together 353

Vignette: First Graders Study the Solar System 353
LITERATURE FOCUS UNITS 358
How to Develop a Literature Focus Unit 358
A Primary Grade Unit on The Mitten 362
An Upper Grade Unit on The Giver 364
LITERATURE CIRCLES 364
How to Organize Literature Circles 364

READING AND WRITING WORKSHOP 367
Establishing a Workshop Environment 368
How to Set Up a Reading Workshop 368
How to Set Up a Writing Workshop 370
THEMATIC UNITS 373
How to Develop a Thematic Unit 374
THE DIGITAL CLASSROOM: WebQuests 375
Using Content-Area Textbooks 376
A Fourth Grade Unit on Flight 378
SUMMING UP 380
References 380
Glossary 383
Index 387

Special Features
Instructional Models
Vignette Step-by-Step
First Graders Apply the Six Language Arts 1 Minilessons 32
A Sixth Grade Language Arts Class 26 Think-Alouds 38
K–1 Students Read and Write 57 Rubrics 49
Second Graders Read Folktales 86 Shared Reading 74
Ms. Kakutani Uses the Reading Process 116 Language Experience Approach 77
Eighth Graders Learn About Irony 149 Interactive Writing 82
Eighth Graders Study Words 184 Interactive Read-Alouds 95
Fifth Graders Read a Novel 216 Grand Conversations 101
Kindergartners Learn About Fish 250 Hot Seat 105

Revising Groups 134
Sixth Graders Participate in Poetry Workshop 285
Interpreting Political Cartoons 162
Fifth Graders Learn Grammar Through Literature 316
Viewing Images 166
First Graders Study the Solar System 353
Story Boards 173
Process Drama 179
Minilesson Word Learning 203
Word Walls 205
Ms. Shapiro Teaches Her Second Graders About Sustaining
Conversations 109 Sketch-to-Stretch 228
Guided Reading 238
Mrs. Monroe Teaches Her Sixth Graders About Word
Histories 210 Retelling Stories 241
Mrs. Levin’s Second Graders Learn About Theme 234 The Research Process 262
Mr. Uchida Teaches His Fifth Graders How to Write Data Learning Logs 263
Charts 279 Cubing 267
Mr. Johnston Teaches His Third Graders to Read Poems Choral Reading 306
Expressively 311 Gallery Walks 309
Mrs. Hamilton Teaches the “Think It Out” Strategy 339 Making Words 341
Ms. Thomas Teaches Manuscript Letter Formation 348 Anticipation Guides 377
Diverse Learners
Differentiated Instruction Engaging English Learners

Vocabulary 211 How Do English Learners Learn Language Arts? 23
Stories 239 How Do Teachers Adapt Instruction? 40
Nonfiction 265 How Do Teachers Adapt Oral Language Activities? 111
Poetry 308 How Do Teachers Adapt the Writing Process? 144
How Do Teachers Teach Vocabulary? 211
How Do Teachers Teach Story Structure? 236
How Do Students Use Writing to Facilitate Learning? 280
Do ELs Really Need to Study Poetry? 312
How Do Teachers Teach Grammar? 329
How Do Teachers Adapt Spelling Instruction? 342
xiv

Special Features xv
Spotlight
Spotlight on Young Children: Which talk strategies do young
children learn? 100
Spotlight on Middle School: What are digital discussions? 110
Spotlight on Middle School: Does drama-infused instruction
improve middle school students’ learning? 178
Spotlight on Young Children: Do young children really need
explicit vocabulary instruction? 199
Spotlight on Middle School: How do teachers teach academic
vocabulary to struggling middle school students? 201
Spotlight on Middle School: How can students use poetry
for social action? 308
Into Practice
Common Core State Standards Booklist

Kindergarten Emergent Literacy Standards 61 Books for Literature Focus Units 31
Second Grade Speaking and Listening Standards 108 Predictable Books 75
Fifth Grade Writing Standards 120 Books That Spark Debates 105
Fourth Grade Visual Language Standards 163 Books That Encourage Critical Listening 110
First Grade Vocabulary Standards 202 The Six Traits 143
Third Grade Literature Standards 233 Art and Artists 167
Sixth Grade Nonfiction Standards 278 Books With Visual Language 171
Fifth Grade Poetry Standards 302 Word Histories 190
Seventh Grade Grammar Standards 329 Vocabulary 207
Second Grade Spelling Standard 343 Story Structures 222
Narrative Devices 235
Personal Narratives 247
Patterns of Practice Nonfiction 257
How Oral Language Fits Into the Patterns of Practice 106 Nonfiction Features 261
How Written Language Fits Into the Patterns of Practice 140 Wordplay Books 290
How Visual Language Fits Into the Patterns of Practice 164 Poetry Books 292
How Vocabulary Fits Into the Patterns of Practice 200 Poetic Forms 293
How Stories Fit Into the Patterns of Practice 231 Parts of Speech 327
How Nonfiction Fits Into the Patterns of Practice 276

How Poetry Fits Into the Patterns of Practice 303 The Digital Classroom
How Grammar Fits Into the Patterns of Practice 325
Online Strategies—Same or Different? 21
How Spelling Fits Into the Patterns of Practice 337
Online Assessment Tools 53
Interactive Media 72
Oral Language 110
Online Publishing 139
Visual Learning Tools 164
Digital Tools for Teaching Vocabulary 209
Digital Tools for Reading and Writing Stories 232
Online Note-Taking Tools 265
Digital Poetry 310
Keyboarding 350
WebQuests 375

Preface
I’ve written Language Arts: Patterns of Practice to provide you with the knowledge and procedures to
confidently teach kindergarten through eighth grade students to communicate effectively using
oral, written, and visual language. With this ninth edition, I ensure not only that you have the
necessary background knowledge to understand how to teach all six language arts—listening,
talking, reading, writing, viewing, and visually representing—but also that you see how the six
language arts can be interactively taught through four patterns of practice—literature focus units,
literature circles, reading and writing workshop, and thematic units. Teaching today in our cul-
turally diverse, technologically changing classrooms is daunting, even for experienced teachers.
However, in this text, I present a bank of language arts strategies for bridging the communication
needs of English learners, and I describe tools that encourage you to teach language arts in an
online environment. Even as Language Arts: Patterns of Practice is now offered as an eText, I have
continued this text’s time-tested focus on modeling the most effective and practical methods to
prepare you for teaching language arts in K–8 classrooms.
New to This Edition

I focus my revisions to meet the needs of teachers and students in contemporary classrooms,
and this ninth edition is no exception. These descriptions highlight the changes in this edition:
Book Organization. As I began this revision, I decided to make the organization of the book
clearer. This edition has three distinct groups of chapters to clarify the expectancies of today’s
language arts instruction and assessment, especially in conjunction with standards alignment.
Part 1 New Expectations: Today’s Language Arts Classroom
Part 2 The Big Six: Listening, Talking, Reading, Writing, Viewing, and Visually Representing
Part 3 Instructional Practices: Implementing the Standards
Instruction–Assessment Cycle. Accountability is still in the forefront of expectations for

effective teaching. Chapter 2 discusses the critical role of assessment in teaching and introduces
the cyclical nature of planning for instruction that meets students’ needs, monitoring student
progress, evaluating student achievement, and reflecting on students’ learning and teachers’
instructional methods.
Interactive Pearson eText*. This is the first edition of Language Arts designed as an interac-
tive Pearson eText. I provide you with point-of-use videos and the opportunity to assess your
learning as you read each section of a chapter. Look for the photos in the margins and the click-
able icon to watch the videos. Look for Check Your Understanding to find the curved arrow and
launch self-assessment questions.
* Please note that eText enhancements are available only in the Pearson eText, and not other third-
party eTexts such as CourseSmart or Kindle.
xvi

Preface xvii
Step-by-Step Feature. These tried-and-true, easy-to-replicate instructional procedures now

include pop-up examples of classroom teachers using each Step-by-Step procedure to meet the
Common Core State Standards for English Language Arts.
Common Core State Standards for English Language Arts. New to this edition are
detailed descriptions in each chapter of the Common Core State Standards for English Language
Arts. The feature identifies grade-specific Standards as well as examples of how teachers apply
the Standards. You can use this feature to build lessons and align them with the Standards; this
will help ensure that your students meet the target goals for your lessons.
The Digital Classroom. I have revised the digital features of this text and compiled them
in The Digital Classroom. This section will guide your use of digital tools in your language arts
classroom.
Literacy Modules. These modules provide additional learning opportunities on essential lan-
guage arts topics. Each module is built around a single practical and applied learning outcome.
In this new edition, you’ll find:
The module “Formative Assessment” in Chapter 2.
The module “Guided Reading” in Chapter 8.
The module “Nonfiction Structures and Features” in Chapter 9.
The module “Writing Workshop” in Chapter 12.
Patterns of Practice
The text begins with the necessary background information for understanding how students
learn, for developing a community of learners in your classroom, and for studying the research
and theories that serve as a foundation for 21st-century language arts instruction. I describe
the instructional approaches best suited to the meaningful, functional, and genuine teaching
of language arts—literature focus units, literature circles, reading and writing workshop, and
thematic units—modeling instruction and pinpointing the strategies and skills you’ll be expected
to teach. I guide you in ways to get to know your students and discover what they’ll need to
learn to succeed.
In each chapter, I discuss the foundational ideas that underpin the topic, and then I show you
the methods, tools, and procedures that will prepare you to effectively teach your students. As you
move through the text, you’ll see how the six language arts and instructional methodologies—
patterns of practice—fit together like the pieces of a carefully constructed quilt, crafted and orga-
nized to form one complete picture.
Engaging You in Instructional Methods

Vignettes begin every chapter with a snapshot of authentic instruction. They describe how
individual teachers use the specific instructional approaches to develop students’ language
arts competencies. The vignettes set the tone for each chapter, illustrating chapter concepts
as they’re played out in a successful language arts classroom. Often, assessment questions
at the end of the chapter will ask you to review the vignette so you can examine more closely
how teachers facilitate students’ learning through their instruction.
Authentic Samples of student work pepper every chapter, modeling the kinds of interaction
and response you can expect from students in your own classroom.

EMErgENT LITErACy 77
Language Experience Approach

The Language Experience Approach (LEA) is based on children’s language and experiences
(Ashton-Warner, 1965; Stauffer, 1970). Children dictate words and sentences about their expe-
riences, and the teacher takes down the dictation for them; the text they develop becomes the
reading material. Because the language comes from the children themselves, and because the
content is based on their experiences, they’re usually able to read the text easily. reading and
writing are connected because children are actively involved in reading what they’ve written. The
steps in the procedure are presented in Step-by-Step: Language Experience Approach.
xviii Preface
The Language Experience Approach is an effective way to help emergent readers. Even older
children who haven’t been successful with other reading activities can read what they’ve dictated.
There’s a drawback, however: Teachers provide a “perfect” model when they take children’s dic-
tation—they write neatly and spell all words correctly. After Language Experience activities, some
young children aren’t eager to do their own writing, because they prefer their teacher’s “perfect”
Minilessons throughout the text present detailed directions for

preparing and carrying out specific instructional strategies and pro-
Step-by-Step: LANguAge eXPeRieNCe APPROACh cedures. The steps in each minilesson serve as a model, providing a
1 Provide an experience. Teachers identify a meaningful experience to serve as the
practical tool to use in your classroom.
stimulus for the writing. For group writing, it can be a book read aloud, a field trip, or
some other experience—such as having a pet or playing in the snow—that all children Step-by-Step Features present detailed directions for using shared
are familiar with. For individual writing, the stimulus can be any experience that’s
memorable for the child. reading, interactive writing, and other instructional procedures.
2 talk about the experience. Children and the teacher discuss the experience to
review it and generate words so that children’s dictation will be more interesting and
Teachers say that this is their favorite feature because each one offers
complete. Teachers often begin with an open-ended question, such as “What are you
going to write about?” As children talk about their experiences, they generate and
a clear and precise map for classroom use. New to this edition: The
organize ideas and brainstorm more specific vocabulary. Step-by-Step features now include clickable classroom examples, illus-
3 Record the dictation. Teachers write down the child’s dictation: Texts for individual
children are written on sheets of writing paper or in small booklets, and group texts trating how experienced teachers use the instructional procedure and
are written on chart paper. Teachers print neatly and spell words correctly, but
they preserve children’s language as much as possible. For individual texts, teachers
how the procedure aligns to Common Core State Standards.
continue to take the child’s dictation and write until he or she hesitates. Then the
Literacy Modules are a new innovative feature. These modules iden-
teacher rereads what’s been written and encourages the child to continue. For group
texts, children take turns dictating sentences, and after writing each sentence, the
teacher rereads it. tify learning outcomes; present information about procedures, strate-
4 Read the text. After the text is complete, the teacher reads it aloud, pointing gies, and skills; provide opportunities to apply your understanding of
to each word; this reading reminds children of the content of the text and
demonstrates how to read it aloud with appropriate intonation. Then
children join in the reading. After reading group texts together, individual
these concepts; and end with assessments to check your understand-
children can take turns rereading. group texts can be duplicated so that
each child has a copy to read.
ing. The Learn section of each module presents essential information
Click here to read how Ms. Salam addresses Standards when she uses the Language about the concept offered to help you meet the module’s learning
Experience Approach in her kindergarten classroom.
outcome. The Apply section consists of exercises in which you practice
applying this concept in a classroom context. The Assess section pro-
vides a test to measure your understanding of the material presented
in the module, as well as evaluate your ability to use this material in an instructional setting.
Look for in Chapters 2, 8, 9, and 12, which will link you to a Pearson eLearning module.
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Classroom Videos are presented with still photographs in each chapter. Clickable play but-
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tons launch video segments that provide models of classroom practice.
Preparing You to Teach Diverse Learners

Differentiated Instruction features describe ways to adapt instruction in culturally and
linguistically diverse classrooms so you can meet the needs of all of your students.
Engaging English Learners sections lay out the specific instructional needs of learners
whose first language isn’t English. In-depth guidance allows you to plan for and adapt
instruction, engage English learners, and ensure that they have the
tools they need to be successful in learning and communicating in
Fifth Grade Writing Standards English.
Strand Standards* Classroom Applications
Writing W 5.1 Write opinion pieces on topics or texts, Teachers use mentor texts to teach students how
supporting a point of view with reasons to write persuasive texts before they write opinion
Spotlight Features pop up from margin note icons. These features
and information.
W 5.2 Write informative/explanatory texts to

pieces.
Teachers teach nonfiction genres, expository text

examine current issues related to chapter topics and demonstrate
how to meet the developmental needs of young children or middle
examine a topic and convey ideas and structures, and nonfiction features before students
information clearly. write informative texts.
W 5.3 Write narratives to develop real or Students apply what they’ve learned about concept
imagined experiences or events using
effective technique, descriptive details,
of story and the writer’s craft in the stories they write.
school students.
and clear event sequences.
W 5.4 Produce clear and coherent writing Teachers teach students about the organization
in which the development and orga- of different genres using mentor texts.
Providing You Tools to Take

nization are appropriate to the task,
purpose, and audience.
W 5.5 With guidance, develop and strengthen Teachers teach the writing process and guide
writing by planning, revising, editing, students as they move through the five stages and
rewriting, or trying a new approach. develop and refine their writing.
W 5.6 With guidance, use technology to

produce and publish writing and to
interact and collaborate with others;
demonstrate sufficient command of
keyboarding skills to type two pages in
a single sitting.
Students learn and apply keyboarding skills
regularly as they compose and refine a variety
of compositions and projects during writing
workshop and other writing activities. Into Practice
W 5.7 Conduct short research projects that
use several sources to build knowledge
Teachers teach students how to conduct research
projects during thematic units, and students work on
Common Core State Standards tables pinpoint instructional goals
through investigation of different as- small-group and individual projects.
pects of a topic.
W 5.8 Recall relevant information from expe- Teachers teach students how to take notes and para-
for K–8 students. As you begin teaching, you’ll be held accountable
riences or gather relevant information
from print and digital sources; summa-
rize or paraphrase information in notes
phrase information from magazines, books, and the
Internet and how to reference their sources in essays
and research projects.
for meeting specific grade-level college and career readiness Standards
and finished work, and provide a list of
sources. for Reading, Writing, Speaking and Listening, and Language. Pay par-
ticular attention to the information under Classroom Applications:
W 5.9 Draw evidence from literary or infor- Students analyze stories and nonfiction texts and
mational texts to support analysis, write the results, citing evidence from the texts.
reflection, and research.
W 5.10 Write routinely over extended time

frames and shorter time frames for a
Students regularly participate in writing projects,
some shorter and others longer in duration. You’ll notice the close connection between chapter content and the
range of discipline-specific tasks.
*Some Standards have been shortened to fit available space.

Source: © Copyright 2010. national Governors Association Center for Best Practices and Council of Chief State School
Standards.
Officers. All rights reserved.
120
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Rhyme and Rhythm. rhyme and rhythm are important devices in some books. Many of the
popular Dr. Seuss books, such as Hop on Pop (2003), are good examples. The sentences have
a strong beat, and rhyme is used at the end of each line or in another poetic scheme. Also,
some books have an internal rhyme—within lines rather than at the end. Other books in this
category include familiar songs, such as Shoo Fly! (Trapani, 2000), and booklong verses, such
as Pattern Fish (harris, 2000).
Sequential Patterns. Some books use a familiar sequence—such as months of the year, days
of the week, numbers 1 to 10, or letters of the alphabet—to structure the text. For example,
The Very Hungry Caterpillar (Carle, 2001) combines number and day-of-the-week sequences
as the caterpillar eats through an amazing array of foods, and Shiver Me Letters: A Pirate ABC
(Sobel, 2006) incorporates an alphabet sequence.
Preface xix
Check Booklist: predictable Books for additional mentor texts illustrating these patterns.
big books. Teachers use enlarged picture books called big books in shared reading, most com-
monly with K–2 students (Ditzel, 2000). In this technique, developed in New Zealand, teachers
place the enlarged picture book on an easel or chart rack where all children can see it, and the
Patterns of Practice features illustrate how the teaching of

various chapter concepts—oral language, written language, visual
Booklist PRediCtABLe BOOKS
Repetitive Florian, D. (2000). A pig is big. New york: greenwillow.
language, vocabulary, stories, nonfiction, poetry, and so on—fit Sentences guarino, D. (2006). Is your mama a llama? New york: Scholastic.
hoberman, M. A. (2001). “It’s simple,” said Simon. New york: Knopf.
into the four patterns of practice: literature focus units, literature Martin, B., Jr. (2010). Brown bear, brown bear, what do you see? New york: holt.
Westcott, N. B. (2003). The lady with the alligator purse. Boston: Little, Brown.
circles, reading and writing workshop, and thematic units. Cumulative Brett, J. (2004). The umbrella. New york: putnam.
Sentences Egielski, r. (1997). The gingerbread boy. New york: harperCollins.
Booklist features present mentor texts to use in your teaching. pinkney, J. (2006). The little red hen. New york: Dial Books.
Taback, S. (1997). There was an old lady who swallowed a fly. New york: Viking.
Language arts teachers rely on good books to shape students’ West, C. (1996). “I don’t care!” said the bear. Cambridge, MA: Candlewick press.
learning, and the Booklists provide both new and time-tested Rhyme and harris, p. (2006). The night pirates. New york: Scholastic.
Rhythm Lies, B. (2006). Bats at the beach. Boston: houghton Mifflin.
favorites on a variety of topics for kindergarten through eighth Martin, B., Jr., & Archambault, J. (2009). Chicka chicka boom boom. New york:
Beach Lane Books.
grade. raffi. (1999). Down by the bay. New york: Crown.
Sequential Carle, E. (1984). The very busy spider. New york: philomel.
The Digital Classroom sections outline ways to use technology Patterns Kraus, r. (1995). Come out and play, little mouse. New york: harperCollins.
Numeroff, L. (2002). If you take a mouse to school. New york: harperCollins.
tools to improve your instruction and to develop 21st-century Wadsworth, O. A. (2002). Over in the meadow. New york: North-South Books.
learners. Wood, A., & Wood, D. (2010). The napping house. Boston: harcourt.
Instructor’s Supplements
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The Instructor’s Resource Center at http://www.pearsonhighered.com houses the print and

media resources available in downloadable, digital formats ready for instructors to use.
These digital resources are available for Language Arts: Patterns of Practice, 9e:
Chapter-by-chapter materials, including learning outcomes, suggested readings, discussion
questions, and in-class activities, and guidance on how to use the chapter-opening vignettes
meaningfully in your instruction.
A test bank of chapter-by-chapter multiple choice and short answer essay questions.
PowerPoint presentations specifically written to support discussions of each chapter.
To access these items online, go to http://www.pearsonhighered.com and click on the Instructor
option; you’ll find the Instructor Resource Center option in the top of the navigation bar, where
you’ll be able to log in or complete a one-time registration with a user name and password. If
you have any questions regarding this process or the materials available online, please contact
your local Pearson sales representative.
Acknowledgments
I’ve been privileged to work with very talented teachers. I want to express my heartfelt thanks
to the teachers highlighted in the chapter-opening vignettes and those who have influenced my
teaching over the years. In particular, I want to acknowledge: Eileen Boland, Kimberly Clark,
Stephanie Collum, Pat Daniel, Whitney Donnelly, Laurie Goodman, Sandy Harris, Terry Kasner,
Susan McCloskey, Kristi McNeal, Jennifer Miller-McColm, Carol Ochs, Gay Ockey, Judy Reeves,
Jenny Reno, and Susan Zumwalt. Thank you for welcoming me into your classrooms; I have
learned as I watched and worked side by side with you and your students. I also want to thank
Cathy Blanchfield, who prepared the Check Your Understanding questions and answers for this
edition. I appreciate your thoughtful and careful work. You’re the best!
To my editors and the production team at Pearson Education, I offer my genuine apprecia-
tion. Thanks to Meredith Fossel, my new Executive Editor; I look forward to a long and produc-
tive relationship. A special thank-you to Linda Bishop, my long-time editor. You’re a talented
editor and motivator who kept encouraging me to stay on track, working toward impossible

xx Preface
deadlines. You’re an amazing woman! I’m honored to be your friend. Thanks to Hope Madden,
Executive Development Editor, for supervising the development of the modules used in Language
Arts. Thanks to Diane Lorenzo, Senior Art Director, who created the cover for this edition. I want
to extend my appreciation to Jessica Sykes and Maren Beckman, who oversaw the production of
this edition at Pearson. A special note to Melissa Gruzs, who has again cleaned up my manuscript
and proofread the typeset text; I’m grateful for your patience and careful attention to detail. And
finally, thanks to Susan McNally, Project Manager at Cenveo, who managed the book’s produc-
tion, juggling multiple schedules and my idiosyncrasies. You’re exceptional!
Finally, I want to acknowledge my colleagues who served as reviewers for this edition: Hazel
S. Katz, Brenau University; Kimberly K. Miller, Ohio Dominican University; Robin G. Puryear, Old
Dominion University; Efleda Tolentino, Long Island University; Kimberlee Wagner, Rockford Uni-
versity; and Lisa Wescott, Ball State University. I appreciate your thoughtful analyses and insights.
Gail E. Tompkins

Chapter
1 Learning and the

Language Arts
PLAN: Preview the Learning Outcomes
1.1 escribe how children learn, the strategies they use to regulate learning, and the
D
role of social interaction on learning.
1.2 istinguish among the four cueing systems and explain their implications for
D
teaching language arts.
1.3 ame five characteristics of communities of learners where students develop com-
N
municative competence using the six language arts.
First Graders Apply the Six Language Arts The first graders in Mrs. McNeal’s
classroom are rereading their collaborative retelling of Maurice Sendak’s classic
story, Where the Wild Things Are (2013). It’s written on large charts, one for the
beginning, one for the middle, and one for the end:
Beginning: Max wore his wolf suit and made mischief. His mother called him a wild
thing. He went to bed without any supper!
Middle: Max went to his bedroom and it
turned into a forest. He got into his boat
and sailed to where the wild things live.
End: Max wanted to go home to his Mom
because she loved him. His supper was there
for him and it was still hot!
Mrs. McNeal used interactive writing for the

retelling so that all of the words were spelled
correctly, and the children could easily reread
it. Check the figure Children’s Retelling of the
“Middle” of the Story; the boxes around some
letters and words represent the correction tape
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2 chapter 1
that Mrs. McNeal used to correct spelling errors and poorly

formed letters.
How do teachers incorporate Japmeet holds the pointer and leads the class to reread the
“beginning” chart, moving the pointer from word to word as
the six language arts in their
the children read aloud. Next, Henry leads the rereading of the
teaching? “middle” chart, and Noelle follows with the “end” chart. As
Listening, talking, reading, writing, view- they finish reading, the children clap because they’re proud of
ing, and visually representing are the six their retelling of a favorite story.
language arts; two of the language arts are Mrs. McNeal’s students are learning about stories; they
oral, two are written, and two are visual. know that stories have beginnings, middles, and ends. They can
Effective teachers integrate instruction and pick out the three parts in stories that the teacher reads aloud,
incorporate opportunities in their language and they try to include all three parts in the stories they write.
arts programs for students to use all six The first graders participate in a 60-minute writing work-
modes every day. As you read this vignette shop each day, beginning with a 15-minute word work lesson
about first graders participating in writing
that involves reading and writing high-frequency words. The
workshop, notice that Mrs. McNeal pro-
first graders sit on the floor in front of the word wall, a bulletin-
vides opportunities for her students to use
board display with 20 sheets of construction paper on which
all six language arts.
the letters are printed in alphabetical order and word cards
with high-frequency words are posted according to beginning
Children’s Retelling of the “Middle” of the Story
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Learning and the Language Arts 3
letter. Currently, 52 words are posted on the word wall, and several new words are added
each week.
The lesson begins with a quick review of the words. First, Hanna holds the pointer and
leads the children in reading the words. Next, Mrs. McNeal passes out small whiteboards,
pens, and erasers, and they play a word game: The teacher gives phonological, semantic,
and syntactic clues about a word on the word wall, and the first graders identify the word.
Mrs. McNeal says, “I’m thinking of a word with three letters. It begins with /y/ and it fits in
this sentence: ‘_____ are my friend.’ What’s the word?” The children identify you and write
it on their whiteboards. They hold up their boards so Mrs. McNeal can check their work.
Then they erase their boards, and the game continues.
Next, Mrs. McNeal teaches a 15-minute minilesson on a writing concept, such as
adding details, writing titles, or using punctuation marks correctly. Today, she reviews the
three parts of a story. She asks Sachit to read his draft aloud. He reads:
I love school. I have lots of friends. One is Yaman. He is a good friend to me. We play with
Alex. We play basketball. We are good friends. I can’t get a ball in the hoop.
The children pick out the beginning and middle sections of the story but notice that
Sachit’s story needs an ending. After several children suggest possible endings, Sachit
decides to use Yaman’s suggestion and finishes his story this way: But I still play basketball
anyway.
A 25-minute writing period follows. On most days, children write stories indepen-
dently, but sometimes they work together to write collaborative compositions, as they
did to retell Where the Wild Things Are. Today, some children are beginning new stories.
They sit knee-to-knee with a classmate and plan their stories by telling them aloud.
Some children work on stories they began the previous day, and others meet with Mrs.
McNeal to share their writings; they read their stories to the teacher and talk about
them, checking that they make sense and have a beginning, a middle, and an end. If
the story is ready to be published, Mrs. McNeal word processes it, leaving space at the
top for an illustration and correcting spelling and other mechanical errors so that the
children can read it.
For the last 5 minutes of the workshop, children share their newly published composi-
tions. Noelle reads aloud her story, “Bella’s Birthday”:
It was Bella’s birthday last week. She’s my big sister. She got an American Girl doll and I
gave her a soccer outfit for her doll. We had a pizza party and Mom baked a yummy cake
with 10 candles on top. Bella’s birthday was awesome!
Afterward, the children clap and offer compliments. Sarah says, “I’m glad you added the
part about Bella being your sister,” and other classmates tell her that they like her story
because it reminds them of their siblings’ birthdays. Mrs. McNeal ceremonially hangs
Noelle’s story in a special section of the bulletin board at eye level for everyone to reread.
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4 chapter 1
T oday, teachers face new challenges and opportunities. The students who come to
your classroom may speak a different language at school than they speak at home,
and they’re growing up in varied family structures: Many live in two-parent families, but
others live with single parents or grandparents, in blended families, or with two moms or
dads. Far too many children are growing up in poverty, some with parents in prison and
siblings in gangs. Still others are homeless. Sadly, some have lost sight of the American
dream, believing that a college education or a successful career is out of reach. The way
you teach language arts must address not only your beliefs about how children learn but
also the language and culture of the students you teach.
How Children Learn

Swiss psychologist Jean Piaget (1886–1980) radically changed our understanding of how children
learn with his constructivist framework (Piaget & Inhelder, 2000). He described learning as the
modification of children’s cognitive structures as they interact with and adapt to their environ-
ment. He believed that children construct their own knowledge from their experiences. Related
to Piaget’s theory is the information-processing theory (Flavell, Miller, & Miller, 2001), which
focuses on how learners use cognitive processes to think about what and how they’re learning.
The Process of Learning

Children’s knowledge is not just a collection of isolated bits of information; it’s organized in the
brain, and this organization becomes increasingly integrated as their knowledge grows (Tracey &
Morrow, 2006). The organization of knowledge is the cognitive structure, and knowledge is arranged
in category systems called schemata, and a single category is a schema. Within the schemata are three
components: categories of knowledge, features or rules for determining what constitutes a category
and what’s included in each one, and a network of interrelationships among the categories.
These schemata can be likened to a conceptual filing system in which people organize and
store the information derived from their past experiences. Taking this analogy further, informa-
tion is filed in the brain in “file folders.” As children learn, they add new file folders to their filing
system, and as they study a topic, its file folder becomes thicker.
Children enlarge existing schemata or construct new ones using two cognitive processes—
assimilation and accommodation (Piaget & Inhelder, 2000). Assimilation takes place when
information is integrated into existing schemata, and accommodation occurs when schemata are
modified or new schemata are created. Through assimilation, children add new information to their
picture of the world; through accommodation, they change that picture to reflect new information.
Learning occurs through the process of equilibration. When children encounter something they
don’t understand, disequilibrium, or cognitive conflict, results. This disequilibrium typically produces
confusion and agitation, feelings that impel children to seek equilibrium, a comfortable balance with
the environment. In other words, when confronted with new or discrepant information, children are
intrinsically motivated to try to make sense of it. If their schemata can assimilate or accommodate
the new information, then the disequilibrium caused by the new experience will motivate them to
learn. Equilibrium is then regained at a higher developmental level. Here’s the three-step process:
1. Equilibrium is disrupted by the introduction of new or discrepant information.
2. Disequilibrium occurs, and the dual processes of assimilation and accommodation function.
3. Equilibrium is attained at a higher developmental level.
M01_TOMP6621_09_CH01_p001-025.indd 4 19/12/14 9:59 AM

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XXXVI
GOING TO HONOLULU
Remember to pronounce the first syllable to rhyme with “bone,”

not with “on.” But, above all, remember, when you are there, never to
speak of coming from the United States or from America—you are in
the United States. Call your home “the mainland.” I was once giving
a lecture in California and I thoughtlessly began a sentence this way:
“When I get back to America”—I never finished that sentence. It was
owing only to the sense of humour possessed by the audience that I
was able to finish the lecture.
People who have travelled all over the world say there are only
two places that may accurately be called paradise; they are the
Hawaiian Islands and Ceylon. If the wind is right, you get the spicy
perfume from Ceylon before the island is visible, as it is written in the
missionary hymn. I have never seen Ceylon, but Hawaii will do very
well as an earthly paradise. The most vivid and alluring description of
it came from the pen of Mark Twain and is to be found at the end of
that work of genius, Roughing It. In a certain sense, Mark was
always homesick for these islands. He saw them in his youth and he
remembered them in his old age.
In honor of Lord Sandwich, Captain Cook in 1778 named them
the Sandwich Islands. The next year he was killed there and a native
chief affirmed that he had eaten the Captain’s heart. I hope it gave
him indigestion.
The islands were conquered by the native king, Kamehameha I,
who died in 1819. He was a great man, a combination of warrior and
statesman, like William the Conqueror.
In 1820 the American missionaries arrived. They found the
natives amiable, like many of the children of the sun, but without
religion, morality or education. Just the most blessed state
imaginable, say many of our modern writers, whose highest ideal for
humanity is animalism. The advantage of such an ideal is that one
does not have to struggle to reach it—hence its popularity.
These missionaries were heroic. They came around Cape Horn
in sailing vessels and they had to send their children back to the
mainland for education by the same route. All ministers of the gospel
believe in education and make sacrifices for it.
King Kalakaua was a picturesque and easy-tempered monarch,
who loved liquor. His trip around the world was an illuminating
excursion in every sense of the word. When he was at the British
court, a terrific question of etiquette arose which puzzled the wise
men. Should he, in going into dinner after Queen Victoria, precede or
follow Edward, Prince of Wales? The matter was settled by the tact
and wit of the Prince. “The man is either a king and should precede
me, or he should go into the dining-room with a napkin over his arm.”
In 1893 Queen Liliuokalani tried to get a new Constitution giving
more power to the throne. An American revolution—the third in our
history—took place, and a republic was established, with the late
Sanford B. Dole as President. In 1898 the republic was annexed to
the United States and in 1900 became the Territory of Hawaii. It will
some day become a State.
The voyage thither from San Francisco usually takes six days.
Leaving the Golden Gate in a cold fog, one sees hump-backed
whales, and thirty miles out the only land, the Farallone Islands, a
desolate, melancholy place for school teachers. But school teachers
are used to getting the worst of it. The weather is cold for two days,
then mild, then warm; plenty of flying fish by day, strange
phosphorescence in the sea by night, and overhead unfamiliar stars.
The Southern Cross appears, a subject for dispute.
The climate is celestial—much too good for this world. Never
hot, never cold in Honolulu. The year round it usually has a minimum
of 70, a maximum of 83. The constant northeast trade winds make
the climate suitable for civilised man, but they also bring frequent
showers. The inhabitants will not admit that these showers are rain—
they call them liquid sunshine. They are indeed liquid. On one
elevation the wind blows so hard that it is difficult to stand upright
and on top of one mountain I saw a waterfall up instead of down, the
wind catching it just as it left the rock. But on the small island Oahu,
containing Honolulu, one can find an immense variety of wind and
weather. Those who dislike showers can live where it practically
never rains; other places have genial, windless heat, and still others
have the cooling, beneficent breeze.
It is an international place and the brethren dwell together in
unity. The streets are filled with Americans, Hawaiians, Japanese,
Chinese, Portuguese, English, Germans and other folks, who seem
to get along together very well indeed. Punahou College was
founded in 1841 and is the oldest American college or university
west of the Mississippi. There I saw a remarkable historical pageant,
attended by ex-President Dole and ex-Queen Lil. One of the natives
made a long address to the Queen, which I wish I could have
understood. Her face was grave and impassive and when I was
presented to her, I was deeply impressed by her anachronistic
expression. She seemed to be living in the past.
I visited many of the schools. At Kaiulaui School there were
among the pupils fifty-eight varieties of nationalities—I remember the
exact number, as it was one more than the mystic fifty-seven. The
United States flag was brought out; the children sang The Star-
Spangled Banner. Then they recited part of Longfellow’s Building of
the Ship. In the primary grade of another school, the teacher was a
Japanese lady. The children seem entirely free from the bigotry of
nationalism. The word “foreigner” is not an epithet and the children
exhibit that rarest of all human things—democracy.
The natural wonders on the biggest island of the group, Hawaii,
beggar description. You must go there yourselves. But I have always
been more interested in human nature than in nature. I have seldom
seen the latter and never the former show to better advantage than
in these delectable oases of the ocean.
XXXVII
HYMNS
The church to which I belong has this very day furnished itself
with a new set of hymn-books; when I enter my accustomed pew
tomorrow morning I shall find there attractive new volumes. Which
fact leads me to the consideration of hymns in general.
The worst verses in the world are to be found among epitaphs
and encomiums of the dead. I remember a certain town in
Connecticut where the local poet hovered over the bedside of the
dying, like a vulture watching a sick horse. Before the corpse was
cold, this poetical ghoul had his poem on the “remains” in the village
paper. You had to get up very early in the morning to die before he
beat you to it, as Matthew Arnold would not say. He added new
terrors to death.
Well, probably, in the number of bad verses, hymns rank a good
second to epitaphs. There are so many bad hymns that some
scoffers think there are few good ones. Such a generalisation is wide
of the truth. The literature of hymnology contains many
masterpieces; innumerable hymns of the church are as beautiful in
poetic art as they are devout in aspiration. If we took all the hymns
out of English literature, the loss would be huge.
If a secret ballot could be taken among all classes of people to
discover the choice of the favourite hymn, I think it would appear that
Cardinal Newman’s Lead, Kindly Light had a majority of votes.
I happened to be in London at the time of Newman’s death in
1890, himself just as old as the nineteenth century. Then were the
old bitter controversies forgotten; Catholics, Protestants and the
unclassed united in tributes to the genius and beauty of the great
Cardinal’s mind and character. And as creeds were for the moment
forgotten, so there came instinctively to every one’s lips the words of
Newman’s creedless hymn, as creedless as the Lord’s Prayer.
The vicissitudes of literary fame are beyond divination. Who,
including first of all Newman, could have dreamed that when the
young man composed that poem, it would outlast his scholarly,
controversial, pietistic and literary prose of eighty years? Yet such is
the fact.
On June 16, 1833, while in a calm at sea, on board an orange-
boat and thinking of his doctrinal perplexities, these lines came into
Newman’s mind; as suddenly, as inexplicably, as fortunately as the
stanzas Crossing the Bar came to Tennyson on a ferryboat crossing
the Solent. Newman called the poem, The Pillar and the Cloud.
For details concerning its composition and for some interesting
criticisms on the poem itself I will refer readers to Dr. Joseph J.
Reilly’s admirable book, Newman as a Man of Letters.
Two of our best American hymn writers are two of our national
poets—Whittier and Holmes. The hymns of Whittier are beautiful in
their simplicity, sincerity, and universal application:
In simple trust like those who heard,

Beside the Syrian sea,
The gracious calling of the Lord,
Let us, like them, without a word,
Rise up and follow Thee.
and the universally known hymn, beginning
We may not climb the heavenly steeps.
The splendid hymn by Oliver Wendell Holmes, commencing

Lord of all being, throned afar,
is sung somewhere every Sunday.

Two hymns by Addison, written more than two hundred years
ago, are familiar to all churchgoers—one, The spacious firmament
on high, which was a favourite with Thackeray, and the other,
beginning
When all Thy mercies, O my God.
I have always especially liked one stanza of this hymn:
Ten thousand thousand precious gifts

My daily thanks employ;
Nor is the least a cheerful heart
That tastes those gifts with joy.
After enumerating many blessings for which he is grateful to God,

Addison quite rightly includes the gift of a cheerful heart. Those who
are ever fastidious, difficult to please and not grateful for anything
miss much happiness.
The king of hymn-writers is Isaac Watts (1674–1748). Although
churchgoers sing his hymns every Sunday, he has never received
due literary credit for his magnificent sacred poems. When I Survey
the Wondrous Cross is a hymn of tremendous passion. In one of his
novels Arnold Bennett calls it “that amazing hymn.” In other hymns
by Watts there is an austere grandeur.
Frederick William Faber (1814–1863) is another master of the art
of hymn writing. Hark, Hark, My Soul! and There’s a Wideness in
God’s Mercy are known everywhere. No martial song was ever more
inspiring than Faith of Our Fathers, with its thrilling second stanza. I
often wonder when people sing that stanza in church, sing it
mechanically with their thoughts elsewhere, what would happen if
they took it literally:
Our fathers, chained in prisons dark,

Were still in heart and conscience free;
And blest would be their children’s fate,
If they, like them, should die for Thee.
Faith of our fathers, holy faith,
We will be true to Thee till death.
One of the greatest of all hymns, Nearer, My God, to Thee, was

written by Sarah Flower, a friend of the young poet Robert Browning.
The first time it was ever heard in public was when Sarah and Eliza
Flower sang it as a duet in the Rev. Mr. Fox’s church. Little did those
sisters guess that they had added to the Christian church all over the
world an imperishable song.
Scores of other hymns might be mentioned, hymns that are
exalted and passionate in feeling and aspiration and nobly poetic in
expression.
It is a pity that we so seldom hear good congregational singing.
People nowadays let others do their singing for them, as well as their
praying. If one will look at the faces of an audience in church and
notice that although their mouths are open no sound emerges, one
will be reminded of a cat on the back doorstep on a winter morning.
You look at the cat and the animal opens its mouth as if to mew, but
has not sufficient energy to bring the articulate mew to the surface—
just an expression of vague discomfort. So during the singing of
hymns I see people with no animation in their faces and with open,
silent mouths, like the dry mew of the cat.
XXXVIII
OLD-FASHIONED SNOBS
I suppose there never was a time in the history of human society

without snobs—that is, without young men of fashion who wished to
be thought prominent members of the smart set. The slang of
various epochs has called them macaronies, dandies, dudes, toffs,
swells—but under various appellations the creature is the same, with
the same habits. There are certain persons who cultivate superficial
elegancies and are never caught in an informal attitude or off their
guard. Lowell said that if N. P. Willis had lived in the Garden of Eden
he would have attracted attention by the way he wore his skin.
About three centuries ago, in the spacious times of Queen
Elizabeth, as we learn from the plays of Shakespeare and of his
contemporaries, and from a satirical guide-book written by Thomas
Dekker, the typical young snob in London got through an average
day in the following manner:
He rose at noon. Late rising has always been an essential
feature of snobbery; because if one gets up early, it proves that one
has to earn one’s living, and to support oneself is incompatible with
swelldom. If any one thinks that the idea of Walter Camp’s setting-up
exercise is new, let me remind him that the Elizabethan dandy,
invariably after rising, took a whole series of gymnastic exercises
while stark naked. The object of this was twofold: he had to keep in
fair physical condition, and these exercises helped to take out of his
system the invariable “hangover.”
He then dressed with the utmost care, and here we must
remember an essential difference between the mental attitude of
Elizabethans and that of young men of today. The late Professor
Moulton said that the chief characteristic of our age was
anticonspicuousness. And this is quite true. Women wear short skirts
not to attract attention, but to avoid it. We follow fashions to escape
notoriety. But in Elizabethan times exactly the contrary was true.
The most democratic garment in the world today is men’s
evening dress. After six o’clock, in any locality in the so-called
civilised world, a man is in style with the black dinner jacket or
swallow-tail. Time and again the tailors have fought this, doing their
best to persuade men to wear something in colour, or at all events
something more individual. But the men thus far have succeeded in
preserving economical uniformity.
Now in Elizabethan times the garments of men were as
gorgeous as the feathers of male birds. A group of men talking
together was a “riot of colour.” A man wore soft leather boots, narrow
at the ankle, and with immense, colored flaring tops. His knee
breeches were tight-fitting silk or satin. His jacket was a slashed
doublet, brilliant in colour; at the neck was an enormous white ruff,
which must have kept the laundries busy; imagine eating soup over
that ruff! Over the doublet he wore a short velvet cloak, with a high
collar. The hat was as elaborate in design as the old style woman’s
Easter bonnet, very broad, with an audacious feather. And, of
course, he invariably carried a sword, with jewelled hilt.
In this array our young swell walked at ease in the centre aisle of
St. Paul’s Cathedral, the favourite place for fashionable display. His
tailor sometimes accompanied him like a detective and, in response
to a signal, took notes of some new and particularly splendid
costume. The young man would salute noblemen and aristocrats in a
loud voice, calling them, if he dared, by their first name, so as to give
the impression of intimacy; for it was essential then, as now, to be
with the “right crowd.” In stentorian tones he would make an
appointment for a two o’clock luncheon at an expensive eating
house. After luncheon, the toothpick was prominently displayed while
on promenade.
In contrast to the modern soldier, who never speaks of his war
experiences, the young Elizabethan, if he had fought in the Low
Countries or elsewhere, bragged noisily about it in all public places.
If he were a poet, he behaved like a tenth-rate poet in Paris today.
He entered a restaurant with a solemn, preoccupied air, and, in
taking his glove from his pocket, purposely let fall a manuscript.
Some one would pick it up and he would remark that it was only a
poem he had dashed off an hour ago; but he would manage the
conversation so that he would be asked to read it aloud.
Tobacco was “coming in” then, and every young swell must be
able to smoke in public without becoming sick. They had their
favourite pipes and elaborate silver pouches; they talked about the
different brands of tobacco like a professional, and it was a great
accomplishment to blow rings.
All public theatrical performances were in the afternoon. The
swell always entered late, attracting as much attention as possible,
and took a seat on the stage, in full view of the audience. In the
midst of a tragedy, he laughed aloud, to show his immunity to
sentiment; at a funny play he scowled and sometimes noisily left the
theatre, clanking his spurs, and saluting acquaintances as he passed
out. Sometimes he would take a rush from the stage floor and
playfully tickle the ear of one of the actors.
After the play, he went to the tavern, where it was important to
call the waiters by their first names, showing that he was a regular
patron; and when the bill was presented he must never look at the
items or add them up, which might show that he was a family man,
or familiar with current prices; no, he must glance carelessly at the
total, and pay with a big tip.
Then in the night he went to his lodgings. One must remember
there were no paved streets in London and no sidewalks and no
lights; if the young gentleman could afford it, he had a linkboy,
carrying a torch, precede him, for in Dryden’s later phrase, the real
swell “sailed behind his link.” The boy was properly tipped, so that if
he met strangers, he would call out, “My lord, step this way.” Then
others gave him place, and the officers of the law respected his
intoxicated condition. And so to bed.
XXXIX
A FAIR CITY
Almost every writer and thinker has the city of his dreams, his
Utopia. In recent years the novelists W. H. Hudson, H. G. Wells and
Alfred Ollivant have each published a book setting forth a conception
of the ideal community. It is not my purpose to add another Utopia
but rather to call attention to an actual city, which, while it is
imperfect like everything else in this motley world, has nevertheless
many advantages that might well be imitated by American cities. I
refer to Munich, Germany.
Munich is my favourite European town. I had rather live in the
United States of America than in any other country; partly because I
was born here, partly because I like the country anyway, but if I could
not live in the United States I had rather live in Munich than in any
other city in the world.
Munich is nearly as large as Boston and yet as quiet as a
country village. Where the people are I don’t know, but those who
are familiar with Boylston and Tremont Streets in Boston will see
nothing like that in Munich. The streets are calm, the sidewalks
uncrowded, the highway uncongested by traffic; there is no Great
White Way; there are no flaring lights; there is no hurly-burly. You
can hear your own footsteps. An American who arrived at Munich at
nine o’clock in the evening, observing the silence of the streets,
asked his taxi driver to take him somewhere. The driver said, “Isn’t
that rather indefinite?” “You know what I mean—take me where there
is a lot of noise and a lot of people.” The driver answered, “What you
want is the railway station.” And indeed that is the only place in
Munich that fulfills those requirements.
There is everything in Munich to make a cultivated foreigner
happy, cheerful and content with a long stay. I have never seen any
town that has so much to give to the visitor. In the first place,
everything that one wants to see is within easy walking distance. If
one rooms in a boarding house on a side street off the Ludwig
Strasse, one can walk in a few moments to the university, to the
public library, to the concert halls, to the State Opera House, to the
State Theatre, to the Play House, to the art galleries; and the English
Garden, an enormous tract of land, is in the centre of the town and
close to all of these other delectable places. In the English Garden in
summer one may take long walks or one may sit down and hear
music as one sips coffee or beer. In the winter one may skate on the
frozen lake. Those who are fond of winter sports have the mountains
close at hand. It is estimated that on some Sunday mornings in
winter 100,000 people take an early train to the mountains for skiing
and other amusements. In the summer the environs of Munich are
beautiful. There is a series of lakes where one may take excursions
in a little steamer or in a rowboat; where one may visit famous old
castles and see the treasures with which they are filled.
If one is fond of tennis, there are three or four tennis courts in the
heart of the city where one may become a visiting member at a
nominal fee and find plenty of agreeable companions. The golf links
are ten minutes by trolley, and there again the entrance fee is
nominal. The only objection that I have to the golf links is that the
magnificent mountains are so near that one is constantly tempted to
lift up one’s eyes to the hills, and, however valuable it may be for
one’s spiritual development, it is fatal to one’s efficiency in golf.
Every night in Munich there is something interesting to hear at
the opera, at the theatre or at the concert hall. Every morning there
is published a little paper devoted exclusively to theatrical and
musical affairs. This paper gives every event that will take place in
the city in the afternoon and evening, with the exact time of
beginning, the exact time of closing and a complete list of the actors,
singers and performers.
One of the chief attractions of the theatre and the operas in
Munich is the fact that they begin early. The opera begins at six
o’clock and is always over before ten, except in the case of a very
long opera. The plays begin at seven-thirty and in nearly every
instance are over at nine-thirty. In other words, the opera and
theatres are run not for the benefit of members of a leisure class who
do not have to get up the next morning but for the ordinary citizen
and his family who are obliged to rise early and go to work. In New
York, in Paris and in London theatre-going and opera-going are in
the nature of a dissipation. The theatres in Paris do not close until
midnight, and in New York and London one does not usually get to
one’s domicile before that. The result is that one is exhausted, and,
according to Kipling, “There is nothing certain but the morning head.”
To go to the theatre or opera four nights in succession in London,
Paris or New York—unless one is able to rise very late the next day
—is an exhausting ordeal, but in Munich, during a period of seven
months, I averaged five nights a week at the opera and theatre and
never felt fatigue.
There is another advantage about beginning early. Instead of
going to the opera or theatre stuffed with a soggy dinner and made
somnolent by food, one takes tea before going and when the
entertainment is over one goes into a cheerful café and has a hot
supper in delightful company and is in bed before eleven.
What does going to the theatre mean in New York, London and
Paris? It too often means something like this. One attends a dinner
party where half the guests arrive late; one then has a long course
dinner, hurried toward the end; the entire company is hustled into
automobiles and arrives at the theatre or opera a half hour after the
performance has begun and in a condition that precludes the
possibility of mental concentration.
After one has spent two or three months in Munich, one falls in
love with the place, with the temper of the town and with the people.
I am frequently homesick for Munich. In one year, after I had spent
four months there, I went in April to Italy—the land where the lemon
trees bloom. There I lived in sunshine and enjoyed the glory and
beauty of the romantic country. But after a while I became homesick
for Munich and, although on the morning of my return it was raining
and the weather in general was doing its worst, my heart was
singing, for I was home again.
XL
TRADITIONS
Whether we like it or not, we are governed by the past. The

books written by men long dead have the largest influence in
shaping our minds and ruling our conduct; the laws that control our
duties and our privileges as citizens were made by men whose
names we cannot remember; spirit hands guide our footsteps; we
think the thoughts of our ancestors and carry into execution
conceptions formed by them. The muscles of our bodies and the
swifter impulses of our minds are set in motion by thousands of men
and women. We have been shaped by our traditions. We can
ourselves add something to these traditions, but even if we would,
we cannot annihilate them. They are as real as we are.
Many Americans have such a militant consciousness of
independence that they cannot endure the thought of having
America’s destiny in any way influenced by hands across the sea.
“What! do you mean to say that foreigners shall tell us what we may
and may not do?” Now the truth is, that not only men in foreign
nations have a vital influence on our present conduct and future acts,
but that this is especially true of those foreigners who have been
dead for centuries. The situation is humiliating. Bad enough to have
an absentee ruler alive—how much more insupportable when he has
ceased to exist!
Nothing is more foolish than to despise the past or to attempt to
arrange the future without a sound knowledge of history. The
difficulty with some radical reformers is that they are deficient in
historical knowledge. They do not know that the experiment they
have in mind has been tried so many times without success that
some lesson might possibly be gained by observation of previous
results. “Histories make men wise,” said Bacon; they make us wise,
not merely because history books were written by wise men, but
because history itself is the accumulation of human wisdom gleaned
from human folly. To sneer at the past is to sneer at wisdom. For
despite the glib way in which the word evolution is used, despite the
advances made in personal luxuries, housing and locomotion,
despite the broad (rather than deep) diffusion of culture by which
reading and writing have become no more conspicuous than
breathing—there is not one scintilla of evidence to prove that the
individual mind has advanced a single step in the power of thought,
or in the ability to reason, or in the possession of wisdom. The men
of ancient times—as represented by their leaders—were in every
respect as able-minded as the best products of the twentieth century.
Reflexion makes us realise the imponderable worth of traditions;
we know they come only from years. Even if every man had his
price, which is not true, there are things beyond all price. A boy who
goes to Cambridge or Oxford has something in his education beyond
the price he pays for his tuition, or the instruction he receives in
lectures, or the advantages of modern laboratories. The grey walls of
the cloisters, the noble old towers, the enchanting beauty of the
quadrangle, represent not only the best in architecture, but they are
hallowed by thousands of ghosts. Lowell coined the phrase, “God’s
passionless reformers, influences.” These influences, silently but
chronically active, like a deep-flowing river, give something that no
recently founded institution can bring; something that makes the so-
called almighty dollar look impotent. Any well-disposed multi-
millionaire can start a well-equipped university; in time it, too, will
have its traditions; but many centuries give a tone and a stamp that
cannot be bought or sold.
A certain independent humour accompanies those who live in
ancient surroundings—and this humour is frequently the Anglo-
Saxon way of expressing pride. After dining in hall with the dons one
evening in a college at Oxford, we adjourned successively to three
rooms. I asked one of my hosts if that had always been the custom.
“No, indeed,” said he, with a smile; “in fact, it is comparatively recent.
We have been doing this only since the seventeenth century.” He
spoke as though it were a rather startling innovation. A wealthy
American was so pleased with the velvet turf of the Oxford
quadrangles that he asked a janitor how such turf was produced; it
appeared that he wished his front lawn at home to wear a similar
aspect. The janitor replied that the matter was simple; all that was
necessary was to wait a thousand years. Age sometimes really
comes before beauty.
When the Englishman Thomas Hardy sat down in his house at
Dorchester to write a poem, he knew that the ground in his garden
was filled with the relics of Roman occupation—pottery, utensils and
human bones. Twenty centuries were in his dooryard. No wonder
there is dignity in his compositions when their roots go so deep.
Tennyson said:
That man’s the best cosmopolite

Who loves his native country best.
I suppose he meant that the man who loved his own country was
better fitted to love all countries and thus become a citizen of the
world than one who, while professing to be swayed only by
international sentiment, should have little affection for any country in
particular. We are familiar with the type of man who is filled with
enthusiasm for humanity, but who never helps an individual; love,
like charity, should begin at home. It is a singular but happy human
characteristic that we love so ardently the scenes of our childhood;
even those brought up in a detestable climate will, when far away in
golden sunlight, become homesick for the fog, the mist, and the rain.
Many who have left home in early manhood will return thither in old
age, as though drawn by invisible but irresistible bonds.
American traditions go back to Colonial days; and those days
went back to the English country and English speech. We ought not
to forget these traditions or be untrue to the best that is in Anglo-
Saxon civilisation. Perhaps no one thing is more necessary to the
welfare and peace of the world today than frank, hearty, sincere
friendship and good will between Great Britain and the United
States.
XLI
SPOOKS
There are intelligent and well-educated persons who believe in

ghosts—I mean they believe in the actual reappearance on earth in
visible form of certain individuals who have for some time been dead
and buried. These are the genuine ghosts, not the creations of fear
or fancy, but as the French call them, revenants, those who come
back. Hamlet’s father was a true ghost, seen by a number of reliable
witnesses; the bloody Banquo at the dinner table was the painting of
Macbeth’s fear, actually not there at all.
The late William De Morgan was a devout believer in ghosts,
was convinced that he had himself seen a sufficient number for
purposes of verification, and hence did not scruple to introduce them
into his novels.
I have not been so fortunate. I cannot even say as many do, “I
do not believe in ghosts, but I am afraid of them.” I will not say that I
do not believe in them, but I am not afraid of them. I never saw one. I
have never seen or heard anything that could not be explained in
some commonplace fashion. There are many who affirm that they
have seen in broad daylight the face and figure of a friend, and as
they have drawn nearer in order to converse, the appearance
became a disappearance, without any rational explanation. The
friend may be living, or he may have long since died. A great many
persons are “seeing things,” and I rather envy them. Others have
distinctly felt a touch on the shoulder, and on turning, no one was
discoverable. I have always, alas, found the responsible party.
But though I have never seen spooks, I have had a few spooky
experiences, of which I will mention two.
One night, with the exception of the maids on the top floor, I was
alone in the house. I had not been well for many days, and felt
particularly miserable when I went to bed. I had lain uneasily for
some hours, and had finally lapsed into semi-consciousness. At half-
past two I was startled by the loud ringing of the front door bell.
Accoutred as I was, I descended, and opened the door. There was
no one. For a few moments, like the man in Poe’s poem, I stood,
deep into the darkness peering. But the darkness gave no token,
and wonderingly I shut the door. I had not got half-way up the stairs,
when once again the doorbell rang with violence. It is easy enough
to tell this lightly now, but then, alone in the house, and ill, it was
worse than mysterious. I ran to the door, and flung it wide open. Not
a soul in sight, the street silent and deserted. Then I thought it might
after all not have been the doorbell, but the telephone. Accordingly I
rang up Central, only to be informed that no one had called my
number. While I was considering this, the doorbell once more
reverberated through the empty house. Again I opened the door. No
one.
I decided that some one with a deficient or perverted sense of
humour was making me a victim. Accordingly I shut the front door,
and crouched directly behind it, with the intention of leaping out and
seizing the humorist as soon as he rang again. In a few moments the
bell rang loudly; I jerked back the door and sprang outside. But there
was absolutely no one, and there was no sound of retreating steps.
I stood outside the door, lost in amazement and fear, for I was
terrified. I gazed wonderingly at the button, half-expecting to see
some spirit-finger push it; when, to my utter dismay, the bell rang
shriller and louder than ever.
If I had really believed in ghosts, that would have been sufficient
evidence. As it is, I shall never forget my distress while the bell
continued ringing and I was looking directly at the only means of
making it ring. I closed the door, and had a bad night.
In the morning I consulted a specialist, not on nerves, but on
doorbells. The explanation was simple. A mouse was enjoying the
flavour of the paraffin in which the wires in the cellar were wrapped,

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(eBook PDF) Language Arts: Patterns

of Practice 9th Edition

MONITOR: Check Your Understanding 78

Part 2 The Big Six: Listening, Talking, Reading, Writing,

Oral Language: Listening and Talking 86

PLAN: Preview the Learning Outcomes 86

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Written Language: Reading and Writing 116

PLAN: Preview Learning Outcomes 116

Visual Language: Viewing and Visually

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Teaching Visual Language 163

Part 3 Instructional Practices: Implementing the Standards

Building Vocabulary 184

PLAN: Preview the Learning Outcomes 184

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Word-Study Activities 205

Comprehending and Composing Stories 216

PLAN: Preview the Learning Outcomes 216

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Investigating Nonfiction 250

PLAN: Preview the Learning Outcomes 250

Exploring Poetry 285

PLAN: Preview the Learning Outcomes 285

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Poems Students Write 292

Language Tools: Grammar, Spelling,

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Teaching Handwriting 346

Putting It All Together 353

PLAN: Preview the Learning Outcomes 353

MONITOR: Check Your Understanding 367

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Kindergartners Learn About Fish 250 Hot Seat 105

Differentiated Instruction Engaging English Learners

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Common Core State Standards Booklist

How Nonfiction Fits Into the Patterns of Practice 276

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New to This Edition

Instruction–Assessment Cycle. Accountability is still in the forefront of expectations for

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Step-by-Step Feature. These tried-and-true, easy-to-replicate instructional procedures now

Engaging You in Instructional Methods

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Language Experience Approach

Minilessons throughout the text present detailed directions for

tons launch video segments that provide models of classroom practice.

Preparing You to Teach Diverse Learners

W 5.2 Write informative/explanatory texts to

Teachers teach nonfiction genres, expository text

Providing You Tools to Take

W 5.6 With guidance, use technology to

W 5.10 Write routinely over extended time

*Some Standards have been shortened to fit available space.

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Patterns of Practice features illustrate how the teaching of

The Instructor’s Resource Center at http://www.pearsonhighered.com houses the print and

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1 Learning and the

Mrs. McNeal used interactive writing for the