Contents
Common Core
State Standards
Lesson 1: Reading Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
RL.7.1; RL.7.2; RL.7.3; RL.7.4;
RL.7.6; RL.7.9; RL.7.10;
SL.7.1; L.7.4.a, d,
Listen.and.Learn Henry.Speaks.Out./.Peace.Will.Be.My.Applause . .
Share.and.Learn Ready.to.Serve. .
. . . . . . 6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Read.On.Your.Own The.Mystery.of.the.Tides. .
. . . . Online
. Handout
Lesson 2: Writing Responses to Literature. . . . . . . . . . . . . . . . 19
1. Get.Ready:.Brainstorm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2. Organize:.Supporting.Evidence.and.Details . . . . . . . . . . . . . . . . . . . . 32
W.7.1.a−e; W.7.4; W.7.5;
W7.6; W.7.9.a; W.7.10; SL.7.1;
L.7.1.b; L.7.3.a; L.7.4.c; L.7.6
3. Draft:.Showing.Clear.Relationships.Between.Ideas . . . . . . . . . . . . . . 34
4. Peer.Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
5. Revise:.Using.Complex.Sentences.for.Effect. . . . . . . . . . . . . . . . . . . . . 40
6. Edit:.Eliminating.Wordiness.and.Redundancy. . . . . . . . . . . . . . . . . . . 42
7. Publish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Lesson 3: Reading Literary Nonfiction. . . . . . . . . . . . . . . . . . . . 47
Listen.and.Learn excerpt.from.Narrative
of the Life of Frederick
Douglass, an American Slave./.Reconstruction . . . . . . . . . . . . . . . . . . 48
Share.and.Learn Blood,.Toil,.Tears.and.Sweat:.Address.to.Parliament.on.
RI.7.1; RI.7.2; RI.7.3; RI.7.4;
RI.7.5; RI.7.6; RI.7.8; RI.7.9;
RI.7.10; SL.7.1; L.7.5.c;
RH.6-8.1; RH.6-8.6; RH.6-8.10
May.13th,.1940./.WW.II:.British.Home.Front. . . . . . . . . . . . . . . . . . . . 60
Read.On.Your.Own From.Awful.Rail.to.Awesome.Trail:.
A.Community.Proposal . . . . . . . . . . . . . . . . . . . Online
. Handout
Lesson 4: Writing Personal Narratives. . . . . . . . . . . . . . . . . . . . 69
1. Get.Ready:.Brainstorm.a.Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
2. Organize:.Introduction,.Body.Paragraphs,.Descriptive.
Details,.and.Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
W.7.3.a−e; W.7.4; W.7.5;
W.7.6; W.7.10; SL.7.1; L.7.1.b;
L.7.2.a; L.7.3.a; L.7.4.a;
L.7.5.b; L.7.6
3. Draft:.Using.Transition.Words. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
4. Peer.Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
5. Revise:.Using.Complex.Sentences.to.Express.Ideas. . . . . . . . . . . . . . . 86
6. Edit:.Using.Commas.and.Coordinate.Adjectives. . . . . . . . . . . . . . . . . 88
7. Publish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
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Share and Learn
Consider
How are the dramatic structures of Romeo and Juliet and
Pygmalion similar and different?
from
Pygmalion
by George Bernard Shaw
Cast of Characters
Henry Higgins
Mrs. Higgins (Henry's mother)
Pickering
This play was published just before the beginning of World War I,
a time when the rigid British social class system was beginning
to unravel. Henry Higgins is a rich professor and scientist of
languages. His friend, Colonel Pickering, is a linguist of Indian
dialects. Higgins bets Pickering that he can transform Eliza
Doolittle, a girl of low social standing chosen off the street, into
a woman who can be passed off as a high-class duchess. The
experiment goes well, and Higgins is able to fool his wealthy social
peers. His mother, Mrs. Higgins, has her doubts. This scene takes
place in Mrs. Higgins’s elegant home.
from Act III
Higgins: (eagerly) Well? Is Eliza presentable? (He swoops on his
mother and drags her to the ottoman, where she sits down in
Eliza’s place with her son on her left.)
Pickering returns to his chair on her right.
DRAW CONCLUSIONS
How does Mrs. Higgins
show that she thinks herself
to be smarter than her son
and Pickering?
Mrs. Higgins: You silly boy, of course she’s not presentable. She’s a triumph of your art and of her dressmaker’s; but if you suppose for a moment that she doesn’t give herself away in every sentence she utters, you must be perfectly cracked about her. Pickering: But don’t you think something might be done? I mean something to eliminate the sanguinary1 element from her conversation. Mrs. Higgins: Not as long as she is in Henry’s hands. 5 Higgins: (aggrieved) Do you mean that my language is improper? Mrs. Higgins: No, dearest: it would be quite proper—say on a canal barge; but it would not be proper for her at a garden party.
1
sanguinary rough, savage
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Higgins: (deeply injured) Well I must say— Pickering: (interrupting him) Come, Higgins: you must learn to know yourself. I haven’t heard such language as yours since we used to review the volunteers in Hyde Park twenty years ago. Higgins: (sulkily) Oh, well, if you say so, I suppose I don’t always talk like a bishop. 10 Mrs. Higgins: (quieting Henry with a touch) Colonel Pickering: will you tell me what is the exact state of things in Wimpole Street? Pickering: (cheerfully: as if this completely changed the subject) Well, I have come to live there with Henry. We work together at my Indian dialects; and we think it more convenient— Mrs. Higgins: Quite so. I know all about that: it’s an excellent arrangement. But where does this girl live? Higgins: With us, of course. Where would she live? Mrs. Higgins: But on what terms? Is she a servant? If not, what is she? 15 Pickering: (slowly) I think I know what you mean, Mrs. Higgins. Higgins: Well, dash me if I do! I’ve had to work at the girl every day for months to get her to her present pitch. Besides, she’s useful. She knows where my things are, and remembers my appointments and so forth. CHARACTERIZATION
How do Mrs. Higgins
and Pickering insult
Professor Higgins?
TONE What is the tone of
the interaction between
the characters?
SETTING SHAPES PLOT
How do Higgins’s social
status and bachelorhood
as well as the era in which
he lives make the question
of Eliza living in his
home a big, potentially
scandalous issue?
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Mrs. Higgins: How does your housekeeper get on with her? POINT OF VIEW How
does Mrs. Higgins most
likely feel about Eliza? Circle
the details that help you
determine her point of view.
Higgins: Mrs. Pearce? Oh, she’s jolly glad to get so much taken off her hands; for before Eliza came, she used to have to find things and remind me of my appointments. But she’s got some silly bee in her bonnet about Eliza. She keeps saying, “You don’t think, sir”: doesn’t she, Pick? Pickering: Yes: that’s the formula. “You don’t think, sir.” That’s the end of every conversation about Eliza. 20 Higgins: As if I ever stop thinking about the girl and her confounded vowels and consonants. I’m worn out, thinking about her, and watching her lips and her teeth and her tongue, not to mention her soul, which is the quaintest of the lot. Mrs. Higgins: You certainly are a pretty pair of babies, playing with your live doll. Higgins: Playing! The hardest job I ever tackled: make no mistake about that, mother. But you have no idea how frightfully interesting it is to take a human being and change her into a quite different human being by creating a new speech for her. It’s filling up the deepest gulf that separates class from class and soul from soul. Pickering: (drawing his chair closer to Mrs. Higgins and bending
over to her eagerly) Yes: it’s enormously interesting. I assure you, Mrs. Higgins, we take Eliza very seriously. Every week—
every day almost—there is some new change. (closer again) We keep records of every stage—dozens of gramophone disks and photographs— Higgins: (assailing her at the other ear) Yes, by George: it’s the most absorbing experiment I ever tackled. She regularly fills our lives up; doesn’t she, Pick? 122 Lesson 6 • Reading Drama
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25 Pickering: We’re always talking Eliza. Higgins: Teaching Eliza. Pickering: Dressing Eliza. Mrs. Higgins: What! Higgins: Inventing new Elizas. DRAMATIC STRUCTURE
How do the stage directions
tell you that the men
are trying to convince
Mrs. Higgins of something?
(Higgins and Pickering, speaking together.)
30 Higgins: You know, she has the most extraordinary quickness of ear:
Pickering: I assure you, my dear Mrs. Higgins, that girl
Higgins: just like a parrot. I’ve tried her with every
Pickering: is a genius. She can play the piano quite beautifully.
Higgins: possible sort of sound that a human being can make—
35 Pickering: We have taken her to classical concerts and to music
Higgins: Continental dialects, African dialects, Hottentot
Pickering: halls; and it’s all the same to her: she plays everything
Higgins: clicks, things it took me years to get hold of; and
Pickering: she hears right off when she comes home, whether it’s
40 Higgins: she picks them up like a shot, right away, as if she had
Pickering: Beethoven and Brahms or Lehar and Lionel Morickton;
Higgins: been at it all her life.
Pickering: though six months ago, she’d never as much as touched a piano.
Mrs. Higgins: (putting her fingers in her ears, as they are by
this time shouting one another down with an intolerable noise) Sh—sh—sh—sh! (They stop.) 45 Pickering: I beg your pardon. (He draws his chair back
apologetically.)
CHARACTERIZATION
How do Higgins and
Pickering feel about Eliza?
MAIN IDEA Pickering and
Higgins banter at the same
time. What is the main idea
of both speeches?
DENOTATION AND
CONNOTATION List
some of the words that
Higgins and Pickering use
to describe Eliza and that
connote the way they feel
about her.
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FIGURATIVE VS. LITERAL
LANGUAGE An idiom is a
type of figurative language.
Its meaning is different from
the literal meaning of the
words. In paragraph 46,
the phrase edgeways is an
idiom. Use context clues to
figure out its meaning.
Higgins: Sorry. When Pickering starts shouting nobody can get a word in edgeways. Mrs. Higgins: Be quiet, Henry. Colonel Pickering: don’t you realize that when Eliza walked into Wimpole Street, something walked in with her? Pickering: Her father did. But Henry soon got rid of him. Mrs. Higgins: It would have been more to the point if her mother had. But as her mother didn’t something else did. 50 Pickering: But what? Mrs. Higgins: (unconsciously dating herself by the word) A problem. Pickering: Oh, I see. The problem of how to pass her off as a lady. Higgins: I’ll solve that problem. I’ve half solved it already. Mrs. Higgins: No, you two infinitely stupid male creatures: the problem of what is to be done with her afterwards. STORY ELEMENTS How
does Eliza’s presence in
Higgins’s home affect
the plot?
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Share and Learn
Anchor Standard Discussion Questions
Discuss the following questions with your peer group. Then record your answers in the
space provided.
1. What is the author’s attitude toward Professor Higgins and his social experiment? Which
of the three characters do you think the author sympathizes with most? Support your
answer with specific language from the play.
2. Reread the banter between Higgins and Pickering, starting with paragraph 30. What does
this interaction reveal about the two characters’ personalities? Support your answer with
details from the play.
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