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A Publication of Complete Curriculum
Gibraltar, MI
©2015 Complete Curriculum
All rights reserved; No part of this publication may be reproduced or transmitted in any form or by
any means without prior permission from the Publisher or Authorized Agent.
Yearly memberships to access over 8,000 lessons, available at www.completecurriculum.com
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Published in electronic format in the U.S.A.
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Acknowledgments
Complete Curriculum’s K-12 curriculum has been team-developed by a consortium
of teachers, administrators, educational and subject matter specialists, graphic artists
and editors.
In a collaborative environment, each professional participant contributed to ensuring the quality,
integrity and effectiveness of each Compete Curriculum resource was commensurate with the
required educational benchmarks and contemporary standards Complete Curriculum had set
forth at the onset of this publishing program.
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TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 1
Introduction to Note-taking
Objective: The student will learn and apply the Cornell notes method.
Lesson 2
The Five Senses
Objective: The student will identify the five senses and use them in narrative writing.
Lesson 3
Sensory Details
Objective: The student will successfully create a chart identifying sensory details. The
student will utilize the pre-writing chart to create a detailed two paragraph story.
Lesson 4
The Cremation of Sam McGee
Lesson 5
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by Robert Service
Vocabulary Work
Objective: The student will complete the vocabulary from The Cremation of Sam McGee
to find descriptive words and phrases.
The Cremation of Sam McGee
Lesson 6
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The Cremation of Sam McGee
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by Robert Service
Introduction to Descriptive Language
Objective: The student will read The Cremation of Sam McGee for descriptive language.
Descriptive Writing
Objective: The student will use The Cremation of Sam McGee as an inspiration to create a
description of an extreme experience.
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Lesson 7
To Be or Not to Bee
Homophones
Objective: The student will be able to define a homophone and correctly use
commonly misspelled homophones.
Lesson 8
Which Make Men Remember
by Jack London
Strategies for Reading Fiction
Objective: The student will learn the strategies for reading fiction and apply them to a
Jack London short story, Which Make Men Remember.
Lesson 9
Which Make Men Remember
by Jack London
Summary and Reflections
Objective: The student will apply the strategies for reading fiction to the short story by
Jack London. The student will demonstrate understanding of plot, foreshadowing, setting
and allusions as found in Which Make Men Remember.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 10
Creating a Haunted Experience
Objective: The student will create a descriptive, narrative piece of writing. This creative
writing piece will describe a family’s experience in a haunted castle and tell a story of a
night spent in the castle.
Lesson 11
The Monkey’s Paw
by W. W. Jacobs
Objective: The student will read The Monkey’s Paw to discover elements of mystery. The
student will be presented with the author’s background and the story’s Vocabulary prior to reading
the work.
Lesson 12
The Monkey’s Paw
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by W. W. Jacobs
Objective: The student will actively read The Monkey’s Paw for elements of suspense.
Lesson 13
The Monkey’s Paw
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by W. W. Jacobs
Objective: The student will continue actively reading The Monkey’s Paw.
Lesson 14
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The Monkey’s Paw
By W. W. Jacobs
Descriptive Writing
Objective: The student will compose a piece of Descriptive Writing using The Monkey’s
Paw as a model.
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Lesson 15
“Then I Took a Potato Chip and…”
Descriptive Writing
Objective: The student will create a descriptive story that appeals to the five senses using
the prompt provided.
Lesson 16
The Adventure of the Dying Detective
By Sir Arthur Conan Doyle
The Art of Mystery
Objective: The student will learn the elements of a mystery. The student will utilize
dictionary skills to define words from The Adventure of the Dying Detective by Sir Arthur
Conan Doyle.
Lessons 17 and 18
The Adventure of the Dying Detective
by Sir Arthur Conan Doyle
Objective: The student will actively read The Adventure of the Dying Detective in order to
identify the elements of a mystery.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 19
Evaluating The Adventure of the Dying Detective
Objective: The student will apply the elements of mystery to the Sir Arthur Conan Doyle
short story, The Adventure of the Dying Detective.
Lessons 20, 21 and 22
Creating a Mystery of Your Own
Objective: The student will demonstrate comprehension of elements of mystery by
writing a mystery. The student will demonstrate Descriptive Writing. The student will
research topics on the Internet to help create a setting for the mystery.
Lesson 23
Working with Sentences
Objective: The student will utilize technology to explain grammar rules for types of
sentences, sentence fragments, run-on sentences and compound sentences.
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Lessons 24 and 25
Writing Sentences Presentation
Objective: The student will create a presentation – either electronically using presentation
software or with poster board - of the types of sentences, sentence fragments, run-on
sentences, compound subjects, and compound verbs.
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Lessons 26 — 30
Creating a College Brochure
Objective: The student will research careers, find higher institutions of learning to
provide training in those careers, investigate three institutions, and choose one institution
to advertise and inform the audience with the creation of a brochure.
Lesson 31
Biography and Autobiography
Objective: The student will be introduced to biographies and autobiographies. The
student will learn how to assess prior knowledge, make connections and inferences.
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Lesson 32
Who is Florence Nightingale?
Objective: The student will actively read a biography about Florence Nightingale.
Lesson 33
Who is Florence Nightingale?
Objective: The student will continue to actively read the biography of Florence Nightingale.
Lesson 34
Responding to Literature
Objective: The student will learn to effectively respond to literature. The student will
construct literature responses using emotional appeal.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lessons 35 — 40
The Story of My Life
by Helen Keller
Objective: The student will actively read The Story of My Life by Helen Keller. The student
will take effective study notes using Cornell notes. The student will understand Key
Vocabulary words related to the story.
Lesson 41
Vocabulary Quiz on The Story of My Life
Objective: The student will complete a Vocabulary quiz with words from Helen Keller’s
life story.
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Lesson 42
Writing a Research Report:
Anne Sullivan Project
Objective: The student will conduct research and write a report about Helen Keller’s
teacher and companion, Anne Sullivan.
Lesson 43
Writing a Research Report:
Anne Sullivan Project
Objective: The student will write a rough draft based on research conducted in the
previous Lesson.
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Lesson 44
Writing a Research Report:
Anne Sullivan Project
Objective: The student will complete the research report assignment by creating the final
draft of the Anne Sullivan project.
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Lessons 45 — 50
Autobiography Project
Objective: The student will engage in self-reflection to draw conclusions about her life.
Reflections will be compiled into a presentation, either digitally or in scrapbook form.
Lesson 51
Autobiography Project Presentation
Reflective Essay
Objective: The student will practice oral skills by presenting the autobiography project
to the teacher and others, if possible. The student will compose a reflective essay on his
autobiography and Helen Keller’s biography.
Lesson 52
Reviewing the Writing Process
Objective: The student will review the writing process.
Lesson 53
Nouns and Pronouns
Objective: The student will identify and classify nouns and pronouns.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 54
Myth or Legend: Stories of the Oral Tradition
Objective: The student will identify a legend and a myth by reading descriptions and
looking for key elements.
Lesson 55
Why is the Sky Blue?
Objective: The student will create a myth about a natural phenomenon.
Lesson 56
Introduction to The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 57
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The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 58
The Legend of Sleepy Hollow
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Lesson 59
The Legend of Sleepy Hollow
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by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
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Lesson 60
The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 61
The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss the The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 62
The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 63
The Legend of Sleepy Hollow
by Washington Irving
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 64
The Legend of Sleepy Hollow
by Washington Irving
Wrap-up
Objective: The student will analyze characters, summarize the plot and discuss The
Legend of Sleepy Hollow and its timeless storyline.
Lesson 65
Cover It Up!
Creatively Summarizing
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The Legend of Sleepy Hollow
Objective: The student will create a book cover for The Legend of Sleepy Hollow. The
book cover serves as an assessment for The Legend of Sleepy Hollow by requiring the
student to summarize the story, illustrate scenes from the story for the front and back
covers, give a biography of the author, and provide a critical review of the story. Illustrating
scenes from the story causes the student to evaluate events in the story for importance and
interest.
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Lesson 66
Compare and Contrast Characters
Objective: The student will compare and contrast Ichabod and Brom in an essay format.
The Legend of Sleepy Hollow
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Lesson 67
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Compare and Contrast Characters:
Essay Response
Objective: The student will formulate an essay response to highlight the similarities and
differences between Ichabod Crane and Brom Bones.
Lesson 68
Just Capital, Thank You!
Objective: The student will learn rules for capitalization in writing and demonstrate
knowledge of capitalization rules.
Lesson 69
The Black Cat
by Edgar Allan Poe
Objective: The student will actively read The Black Cat to identify elements of suspense.
Lesson 70
The Black Cat
by Edgar Allan Poe
Objective: The student will actively read The Black Cat to identify elements of suspense.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 71
The Black Cat
By Edgar Allan Poe
Extra, Extra! Read all about it!
Objective: The student’s Vocabulary will be assessed in a formal test. The student will
create a plot diagram and write a newspaper article about The Black Cat.
Lesson 72
Introduction to Poetry
Objective: The student will discover poetry through note-taking and reading.
Lesson 73
Annabel Lee
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By Edgar Allan Poe
Edgar Allan Poe Biography
Objective: The student will actively read Annabel Lee by Edgar Allan Poe and will answer
Comprehension Questions following the selection. The student will increase knowledge
and appreciation of poetry and figurative language.
Lesson 74
Cinquains
Objective: The student will discover the format of a cinquain and will create original
cinquains.
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Lesson 75
Haiku
Objective: The student will learn about and create examples of a form of Japanese
poetry, haiku.
Lesson 76
Alliteration
Objective: The student will identify and utilize alliteration in a creative writing exercise.
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Lesson 77
Definition Poetry
Objective: The student will create a definition poem to convey meaning.
Lesson 78
Ballad Poetry
Objective: The student will discover ballads and how they relate to everyday music.
Lesson 79
Free Verse
Objective: The student will study the genre of free verse and compose an original work.
Lesson 80
Diamante Poetry
Objective: The student will learn about the form of diamante poetry and create an
original piece.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 81
Lives of Poets and Paraphrasing Poems
Objective: The student will be introduced to several poets by learning about their lives,
works and styles. The student will also learn to paraphrase a poem to better understand its
meaning
Lesson 82
Song Lyrics Project
Objective: The student will paraphrase a favorite song to draw out meaning and
demonstrate understanding.
Lesson 83
To An Athlete Dying Young
by A. E. Housman
Objective: The student will actively read To an Athlete Dying Young. The student will
demonstrate understanding by paraphrasing the poem.
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Lesson 84
The Star Spangled Banner
by Francis Scott Key
Objective: The student will read The Star Spangled Banner to discover meaning.
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Lesson 85
What it Means to be American
Objective: The student will compose a written interpretation of being American.
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Lesson 86
What it Means to be an American
Wrap-up
Objective: The student will complete the 250 word written response expressing what
America means to him.
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Lesson 87
Oh say, what do you really know about
the American flag?
Objective: The student will create a persuasive brochure about the American flag.
Lesson 88
Verbs
Objective: The student will identify types of verbs and use them correctly.
Lesson 89
The Tiger by William Blake
Objective: The student will actively read and interpret The Tiger by William Blake.
Lesson 90
Practicing Writing Skills
Objective: The student will write a five paragraph essay based on a given prompt.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 91
The Biography of Jack London
Objective: The student will read the biography of Jack London to learn about the
author’s style prior to reading the White Fang.
Lesson 92
Gold Rush!
Objective: The student will discover information about the Alaska Gold Rush.
Lessons 93
White Fang by Jack London
Part One: Chapter One
Objective: The student will actively read the novel White Fang to draw a conclusion
about London’s use of naturalism. This is the core objective for all Lessons 93-123, which
are based upon this novel.
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Lesson 94
White Fang by Jack London
Part One: Chapter Two
Objective: The student will continue to actively read the novel White Fang and attempt
to engage in predictive reading by making an educated guess concerning what the next
section will be about based on the title and leading text.
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Lesson 95
Lesson 96
White Fang
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White Fang by Jack London
Part One: Chapter Three
Objective: The student will continue to actively read the novel White Fang and attempt
to engage in predictive reading by performing a contextual Vocabulary exercise.
Part One Assessment
Objective: The student will take the first White Fang Assessment
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Lesson 97
White Fang by Jack London
Part Two: Chapter One
Objective: The student will continue to actively read the novel White Fang.
Lesson 98
White Fang by Jack London
Part Two: Chapter Two
Objective: The student will continue to actively read the novel White Fang and attempt
to engage in predictive reading by making an educated guess concerning what happens
next.
Lesson 99
White Fang by Jack London
Part Two: Chapter Three
Objective: The student will continue to actively read the novel White Fang and will
engage in an “agree/disagree” reading activity.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 100
White Fang by Jack London
Part Two: Chapter Four
Objective: The student will continue to actively read the novel White Fang and will
literally illustrate key concepts by making drawings in his notebook to correspond to this
Lesson’s Vocabulary words.
Lesson 101
White Fang by Jack London
Part Two: Chapter Five
Objective: The student will continue to actively read the novel White Fang and will
perform another predictive Vocabulary exercise.
Lesson 102
White Fang
Part Two Assessment
Objective: The student will take the second White Fang Assessment.
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Lesson 103
White Fang by Jack London
Part Three: Chapter One
Objective: The student will continue to actively read the novel White Fang and will use a
thesaurus to complement her Vocabulary Lessons.
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Lesson 104
White Fang by Jack London
Part Three: Chapter Two
Objective: The student will continue to actively read the novel White Fang.
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Lesson 105
White Fang by Jack London
Part Three: Chapter Three
Objective: The student will continue to actively read the novel White Fang.
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Lesson 106
White Fang by Jack London
Part Three: Chapter Four
Objective: The student will continue to actively read the novel White Fang.
Lesson 107
White Fang by Jack London
Part Three: Chapter Five
Objective: The student will continue to actively read the novel White Fang.
Lesson 108
White Fang by Jack London
Part Three: Chapter Six
Objective: The student will continue to actively read the novel White Fang.
Lesson 109
White Fang
Part Three Assessment
Objective: The student will complete an Assessment on Part Three of White Fang.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 110
White Fang by Jack London
Part Four: Chapter One
Objective: The student will continue to actively read the novel White Fang.
Lesson 111
White Fang by Jack London
Part Four: Chapter Two
Objective: The student will continue to actively read the novel White Fang.
Lesson 112
White Fang by Jack London
Part Four: Chapter Three
Objective: The student will continue to actively read the novel White Fang.
Lesson 113
Lesson 114
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White Fang by Jack London
Part Four: Chapter Four
Objective: The student will continue to actively read the novel White Fang.
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Lesson 115
White Fang by Jack London
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White Fang By Jack London
Part Four Chapter Five
Objective: The student will continue to read the novel White Fang; while reading, the
student will search for contextual clues that verify the meanings of the Vocabulary words
and illustrate White Fang’s intelligence
Part Four: Chapter Six
Objective: The student will continue to actively read the novel White Fang.
Lesson 116
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White Fang
Part Four Assessment
Objective: The student will complete the fourth White Fang Assessment.
Lesson 117
White Fang by Jack London
Part Five: Chapter One
Objective: The student will continue to actively read the novel White Fang, and will
engage in a predictive Vocabulary exercise.
Lesson 118
White Fang by Jack London
Part Five: Chapter Two
Objective: The student will continue to actively read the novel White Fang.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 119
White Fang by Jack London
Part Five: Chapter Three
Objective: The student will continue to actively read the novel White Fang and will
engage in a predictive Vocabulary exercise.
Lesson 120
White Fang by Jack London
Part Five: Chapter Four
Objective: The student will continue to actively read the novel White Fang.
Lesson 121
White Fang by Jack London
Part Five: Chapter Five
Objective: The student will continue to actively read the novel White Fang.
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Lesson 122
White Fang
Part Five Assessment
Objective: The student will complete the fifth White Fang Assessment.
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Lesson 123
White Fang
Culminating Activity
Objective: The student will use details from White Fang to draw a conclusion about
London’s view of naturalism. This is the core objective for entire novel.
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Lesson 124
Introduction to Native American Mythology
Objective: The student will learn the two types of myth present in Native American lore.
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Lesson 125
Native American Mythology, Continued
Objective: The student will read and identify Native American myths.
Lesson 126
Writing a Myth
Objective: The student will choose to create an original trickster myth or creation myth.
Lesson 127
Greek Mythology
Objective: The student will be introduced to Greek mythology through a reading about
the goddess, Demeter.
Lesson 128
Who is Aphrodite?
Objective: The student will identify Aphrodite and her identification with nature.
Lesson 129
Daedalus and Icarus
Objective: The student will read about Daedalus and Icarus and decipher their relationships
to nature.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 130
Comparing Greek and
Native American Mythology
Objective: The student will complete a Venn diagram and write a compare and contrast
response for Native American myth and Greek myth.
Lesson 131
Conjunction Function
Objective: The student will learn how to properly use conjunctions in writing.
Lesson 132
Expository Writing: How-to Essay
Objective: The student will create an expository essay telling the reader how to
accomplish a certain task.
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Lesson 133
Biography of Rudyard Kipling
Objective: The student will discover the life of Rudyard Kipling and learn about his
writing influences.
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Lesson 134
The Jungle Book
Story One: Mowgli’s Brothers
Objective: The student will begin reading The Jungle Book for comprehension and use
basic writing skills to demonstrate understanding.
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Lesson 135
The Jungle Book
Story One: Mowgli’s Brothers
Objective: The student will actively read The Jungle Book and begin building a case for
comparing and contrasting it with White Fang.
Lesson 137
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Lesson 136
The Jungle Book
Story One: Mowgli’s Brothers
Objective: The student will begin to analyze Mowgli’s interactions with other members of
his social group and compare the characters in the story with people the student knows.
The Jungle Book
Story One: Mowgli’s Brothers Wrap-Up
Objective: The student will trace Mowgli’s life from Story One and create a timeline.
Lesson 138
The Jungle Book
Story Two: Kaa’s Hunting
Objective: The student will continue to trace Mowgli’s life and adventures to build a
foundation for comparison with White Fang.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 139
The Jungle Book
Story Two: Kaa’s Hunting
Objective: The student will discover more about Mowgli’s character and development and
consider Kipling’s themes of honor among friends and respect for all who honor the Law of the
Jungle.
Lesson 140
The Jungle Book
Story Two: Kaa’s Hunting
Objective: The student will use Mowgli’s story as a basis for building and understanding
character.
Lesson 142
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Lesson 141
The Jungle Book
Story Two: Kaa’s Hunting Wrap-Up
Objective: The student will demonstrate understanding of events in the story by creating
a timeline of Mowgli’s story in Kaa’s Hunting.
The Jungle Book
Story Three: Tiger, Tiger!
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Objective: The student will compare the “civilized” qualities Mowgli possesses to the
“civilized”qualities possessed by the villagers.
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Lesson 143
The Jungle Book
Story Three: Tiger, Tiger!
Objective: The student will examine and compare Mowgli’s use of strategy to solve
problems with the student’s own use of strategy to solve problems.
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Lesson 144
The Jungle Book
Story Three: Tiger, Tiger!
Objective: The student will continue to trace Mowgli’s life and growth throughout The
Jungle Book. The student will identify Kipling’s underlying theme about the nature of
civilization and who embodies it.
Lesson 145
The Jungle Book
Story Three: Tiger, Tiger! Wrap-Up
Objective: The student will examine Mowgli’s life and chart his growth and development.
Lesson 146
Comparing Characters:
Mowgli and White Fang
Objective: The student will compare and contrast Mowgli and White Fang through
respective excerpts from White Fang and Stories One, Two and Three of The Jungle Book
that pertain to each of these characters.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 147
The Jungle Book: Mowgli’s Story
Storyboard
Objective: The student will create a storyboard for Mowgli’s life using the timelines
created in Lessons 137, 141 and 145.
Lesson 148
Making Choices
Objective: The student will write a reflective essay using personal knowledge and
experience about making choices.
Lesson 149
Conflict
Objective: The student will write a personal narrative about conflict using her own
experiences.
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Lesson 150
Letter Writing
Objective: The student will write a formal letter expressing an opinion.
Lesson 151
Narrative Writing: Making an Effort
Objective: The student will apply the key qualities of narrative writing by creating an
original work based on a prompt.
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Lesson 152
Persuasive Essay
Objective: The student will discover persuasive writing and choose a position to defend.
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Lesson 153
Adjectives
Objective: The student will define an adjective and use adjectives correctly in writing.
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Lesson 154
Introduction to Sojourner Truth
Objective: The student will read about the life of Sojourner Truth and make connections
to important events of the times in which she lived. The student will analyze, reflect on,
and prepare and present a speech about the world in which Sojourner lived.
Lesson 155
Selections from Narrative of Sojourner Truth
by Olive Gilbert
Objective: The student will read a portion of Olive Gilbert’s narrative, react to it, and
compare Sojourner’s early life experiences with his own early life experiences. The student
will also write a persuasive letter advocating for change regarding one of the events in
Soujourner's early life.
Lesson 156
Selections from Narrative of Sojourner Truth
by Olive Gilbert
Objective: The student will read a portion of Olive Gilbert’s narrative, react to it, and
compare Sojourner’s values, character, and actions with the student’s values, character, and
actions.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 157
Selections from Narrative of Sojourner Truth
by Olive Gilbert
Objective: The student will continue reading Narrative of Sojourner Truth for
comprehension and analysis.
Lesson 158
Selections from Narrative of Sojourner Truth
by Olive Gilbert
Objective: The student will complete reading selections from Narrative of Sojourner
Truth, respond in writing to the reading, and conduct analysis on it.
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Lesson 159
Assessment on Sojourner Truth
Objective: The student will write an expository essay about the character of Sojourner
Truth demonstrating mastery of writing skills, knowledge about Sojourner Truth and
analysis of her contributions, personality, and character.
Lesson 160
Preparing to Write a Research Paper:
Conducting Research
Objective: The student will begin the process of learning to write a research paper. In this
Lesson the student will conduct research online or in the library.
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Lesson 161
Preparing to Write a Research Paper:
Recording and Sorting Information
Objective: The student will continue the process of learning to write a research paper.
The student will practice reading for information, internalizing the information, evaluating
its usefulness and sorting the information.
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Lesson 162
Preparing to Write a Research Paper:
Creating a Bibliography
Objective: The student will continue the process of writing a research paper. The student
will learn to create a bibliography.
Lesson 163
Preparing to Write a Research Paper:
Citing Your Sources
Objective: The student will continue the process of learning to write a research paper.
The student will learn how to cite sources when composing the text of a research paper.
Lesson 164
Preparing to Write a Research Paper:
Poet Web Search
Objective: The student will continue the process of learning to write a research paper.
The student will conduct structured research and record and assess information in note
form.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 165
Preparing to Write a Research Paper:
The Writing Process and Outlining
Objective: The student will continue the process of learning to write a research paper.
The student will learn how to organize and assess ideas and information, and use them to
make an outline.
Lesson 166
Writing a Research Report:
Brainstorming and Choosing a Topic
Objective: The student will begin writing a research paper by brainstorming and selecting
a famous person as the topic.
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Lesson 167
Writing a Research Report:
Collecting and Organizing Information
Objective: The student will conduct research on the person who will be the subject of the
paper. The student will search for information, evaluate the information for usefulness,
record the information in the form of notes, gather bibliographic information, and
organize the information during the note taking process.
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Lesson 168
Writing a Research Report:
Putting It All Together!
Objective: The student will continue the note taking, analysis of information, and
organization of material process. The student will create an outline based on the research
notes to guide the writing process.
Lesson 169
Writing a Research Report:
Rough and Final Drafts
Objective: The student will combine the research information and original ideas to
compose the research paper.
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Lesson 170
Creating a Presentation
Objective: The student will search for multiple images and graphics and then present
them using presentation software.
Lesson 171
Give Me Liberty or Give Me Death!
by Patrick Henry
Objective: The student will read a speech written by Patrick Henry and create an original
speech.
Lesson 172
May I, Please?
Objective: The student will create a persuasive speech using the elements of persuasion
Lessons.
TABLE OF CONTENTS AND OBJECTIVES
SEVENTH GRADE LANGUAGE ARTS
Lesson 173
Shall I Compare Thee to a Summer’s Day?
Objective: The student will review paraphrasing notes from Lesson 82 and apply the
technique to William Shakespeare’s work. The student will learn the characteristics of the
sonnet.
Lesson 174
Hiawatha’s Childhood
by Henry Wadsworth Longfellow
Objective: The student will actively read Hiawatha’s Childhood and diagram the elements
of plot.
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Lesson 175
Proofreading and Grammar Review
Objective: The student will successfully make corrections to a piece of writing using
grammar presented in this course. The student will compose an original business letter
using correct style and grammar.
Lesson 176
Mythology Review
Objective: The student will review the myth writing assignment in Lesson 126 and revise
or extend it for an improved example of creative myth writing.
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Lesson 177
Reviewing the Genres of Literature
Objective: The student will review all genres of literature covered in this course and
prepare a presentation teaching those genres to others.
Lesson 178
Narrative Writing: Course Work Experience
Objective: The student will brainstorm and plan a final writing piece about the
experience of seventh grade coursework.
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Lesson 179
Narrative Writing: Course Work Experience
Objective: The student will complete the review of the learning experiences in this course
by completing a narrative essay on work completed during the course.
Lesson 180
Digital Portfolio
Objective: The student will select favorite writing pieces from this course and rework
them into a digital portfolio.
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To the Student
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Take Off To a Fine Start
In Language Arts!
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Each daily Lesson begins with a question. This isn't a trick question, you can't study for this
question, but you do have to think about it before you answer. The more you think, write
or talk about your answer, the more relevant the material will become, the more interested
you will be in what you are about to learn, and the better you will be able to understand
and apply what you are about to learn.
™
Seventh Grade Language Arts Common Core
Alignment
Complete Curriculum Lesson
Reading: Literature
--Key Ideas and Details
RL.7.1. Cite several pieces of textual evidence to support 5, 9, 11‐13, 16‐19, 57‐64, 69‐71, analysis of what the text says explicitly as well as inferences 83, 93‐122, 124, 125, 127‐129, 134‐
drawn from the text.
140, 142, 144
RL.7.2. Determine a theme or central idea of a text and analyze its development over the course of the text; 64, 65, 93‐105, 174
provide an objective summary of the text.
RL.7.3. Analyze how particular elements of a story or drama 9, 64, 66, 71, 97, 109, 135, 136, interact (e.g., how setting shapes the characters or plot).
139
--Craft and Structure
SA
RL.7.4. Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of rhymes and other 4, 5, 11‐13, 16‐19, 57‐64, 69, 72‐
repetitions of sounds (e.g., alliteration) on a specific verse 74, 94‐107, 109‐122, 127‐129, 134‐
or stanza of a poem or section of a story or drama.
140, 142‐144, 173
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RL.7.5.. Analyze how a drama’s or poem’s form or structure (e.g., soliloquy, sonnet) contributes to its meaning.
73, 171, 173, 174
--Integration of Knowledge and Ideas
66, 67
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RL.7.6. Analyze how an author develops and contrasts the points of view of different characters or narrators in a text.
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RL.7.7. Compare and contrast a written story, drama, or poem to its audio, filmed, staged, or multimedia version, analyzing the effects of techniques unique to each medium (e.g., lighting, sound, color, or camera focus and angles in a film).
64,
RL.7.8. (Not applicable to literature)
RL.7.9. Compare and contrast a fictional portrayal of a time, place, or character and a historical account of the same period as a means of understanding how authors of fiction use or alter history.
19,
--Range of Reading and Level of Text Complexity
RL.7.10. By the end of the year, read and comprehend literature, including stories, dramas, and poems, in the grades 6–8 text complexity band proficiently, with scaffolding as needed at the high end of the range.
Reading: Informational Text
--Key Ideas and Details
4, 5, 8, 9, 11‐13, 16‐19, 54, 56,‐65, 69‐75, 78‐81, 83, 84, 89, 93‐125, 127‐129, 134‐144, 171, 173, 174
RI.7.1. Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
32, 33, 35‐40, 91, 133, 155
RI.7.2. Determine two or more central ideas in a text and analyze their development over the course of the text; provide an objective summary of the text.
156,
RI.7.3. Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events).
133, 146
--Craft and Structure
RI.7.4. Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the impact of a specific word choice on meaning and tone.
4, 5, 11‐13, 16‐19, 35‐40, 57‐64, 69, 135, 136, 155‐158 SA
--Integration of Knowledge and Ideas
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RI.7.5. Analyze the structure an author uses to organize a text, including how the major sections contribute to the whole and to the development of the ideas.
40,
RI.7.6. Determine an author’s point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others.
32,
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RI.7.7. Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words).
5,
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RI.7.8. Trace and evaluate the argument and specific claims in a text, assessing whether the reasoning is sound and the 91, 133
evidence is relevant and sufficient to support the claims.
RI.7.9. Analyze how two or more authors writing about the same topic shape their presentations of key information by emphasizing different evidence or advancing different interpretations of facts.
133,
----Range of Reading and Level of Text Complexity
RI.7.10. By the end of the year, read and comprehend literary nonfiction in the grades 6–8 text complexity band proficiently, with scaffolding as needed at the high end of the range.
Writing
--Text Types and Purposes
W.7.1. Write arguments to support claims with clear reasons and relevant evidence.
31‐33, 35‐40, 91, 133, 154, 155, 157, 158
Introduce claim(s), acknowledge alternate or opposing claims, and organize the reasons and evidence logically.
64, 150, 152, 155
Support claim(s) with logical reasoning and relevant evidence, using accurate, credible sources and demonstrating an understanding of the topic or text.
64, 150, 152, 155
Use words, phrases, and clauses to create cohesion and clarify the relationships among claim(s), reasons, and evidence.
64, 150, 152, 155
64, 150, 152, 155
Establish and maintain a formal style.
Provide a concluding statement or section that follows from 64, 150, 152, 155
and supports the argument presented.
W.7.2. Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.
SA
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Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, and information, using strategies such as definition, classification, comparison/contrast, and cause/effect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.
27‐30, 34, 132, 159, 161, 168, 169
27‐30, 34, 132, 159, 168, 169
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Develop the topic with relevant facts, definitions, concrete details, quotations, or other information and examples.
Use appropriate transitions to create cohesion and clarify the relationships among ideas and concepts.
Use precise language and domain‐specific vocabulary to inform about or explain the topic.
Establish and maintain a formal style.
27‐30, 34, 159, 168, 169
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27‐30, 34, 132, 159, 168, 169
34, 132, 159, 168, 169
Provide a concluding statement or section that follows from and supports the information or explanation presented.
27‐30, 34, 132, 159, 168, 169
W.7.3. Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well‐structured event sequences.
Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.
10, 14, 15, 20‐22, 90, 126, 149, 151, 178 2, 3, 6, 10, 14, 15, 20‐22, 90, 126, 149, 151, 178
Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.
Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.
Provide a conclusion that follows from and reflects on the narrated experiences or events.
6, 10, 14, 15, 20‐22, 90, 126, 149, 151, 178
2, 3, 6, 10, 14, 15, 20‐22, 90, 126, 149, 151
6, 10, 14, 15, 20‐22, 90, 126, 149, 151, 178
--Production and Distribution of Writing
SA
W.7.4. Produce clear and coherent writing in which the 6, 10, 14, 15, 34, 45‐50, 52, 54, 55, development, organization, and style are appropriate to 65, 71, 73‐82, 85, 90, 105, 162, 145‐
task, purpose, and audience. (Grade‐specific expectations 147, 149‐152, 157‐159, 161, 169, for writing types are defined in standards 1–3 above.)
178, 180
W.7.5. With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new 21, 43, 44, 52, 86, 90, 132, 145, approach, focusing on how well purpose and audience have 169, 175, 176, 179, 180
been addressed.
W.7.6. Use technology, including the Internet, to produce and publish writing and link to and cite sources as well as to interact and collaborate with others, including linking to 24‐26, 42, 45, 54, 81, 92, 123, 126, and citing sources.
146, 177
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--Research to Build and Present Knowledge
PL
W.7.7. Conduct short research projects to answer a question, drawing on several sources and generating additional related, focused questions for further research 42‐45, 81, 87, 90, 92, 107, 108, and investigation.
160, 161, 164‐169, 171
W.7.8. Gather relevant information from multiple print and digital sources, using search terms effectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and following a standard format for 1, 24‐26, 42, 87, 91, 123, 160‐169, citation.
171
W.7.9. Draw evidence from literary or informational texts to support analysis, reflection, and research.
Apply grade 7 Reading standards to literature (e.g., “Compare and contrast a fictional portrayal of a time, place, or character and a historical account of the same period as a means of understanding how authors of fiction use or alter history”).
106, 123, 130, 145, 146, 147
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Apply grade 7 Reading standards to literary nonfiction (e.g. “Trace and evaluate the argument and specific claims in a text, assessing whether the reasoning is sound and the evidence is relevant and sufficient to support the claims”). 67, 155
--Range of Writing
W.7.10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline‐specific tasks, purposes, and audiences.
11‐13, 45‐50, 54, 55, 90, 92, 107, 108, 123‐126, 130, 132, 137‐139, 143‐152, 155, 157‐169, 171, 178
Speaking and Listening
--Comprehension and Collaboration
SL.7.1. Engage effectively in a range of collaborative discussions (one‐on‐one, in groups, and teacher‐led) with diverse partners on grade 7 topics, texts, and issues, building on others’ ideas and expressing their own clearly.
SA
Come to discussions prepared, having read or researched material under study; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
12, 69, 82, 111, 133, 139, 173
Follow rules for collegial discussions, track progress toward specific goals and deadlines, and define individual roles as needed.
27‐30, 69, 82, 111, 139
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Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations 8, 10, 12, 69, 70, 82, 106, 111, 125, and ideas that bring the discussion back on topic as needed. 133, 134, 139, 173
Acknowledge new information expressed by others and, 8, 10, 12, 69, 70, 82, 106, 111, 125, when warranted, modify their own views.
133, 134, 139
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SL.7.2. Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study.
154,
SL.7.3. Delineate a speaker’s argument and specific claims, evaluating the soundness of the reasoning and the relevance and sufficiency of the evidence.
172,
--Presentation of Knowledge and Ideas
SL.7.4. Present claims and findings, emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation.
51, 107, 154, 171, 172
SL.7.5. Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points.
51, 107, 147, 170, 177
SL.7.6. Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.
51, 54, 55, 107, 154, 171, Language
--Conventions of Standards English
L.7.1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
Explain the function of phrases and clauses in general and their function in specific sentences.
23,
Choose among simple, compound, complex, and compound‐
complex sentences to signal differing relationships among ideas.
23‐25, 175
SA
Place phrases and clauses within a sentence, recognizing and correcting misplaced and dangling modifiers.*
23,
L.7.2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
68, 151, 175
Use a comma to separate coordinate adjectives (e.g., It was a fascinating, enjoyable movie but not He wore an old[,] green shirt ).
90, 148, 151
6, 14, 34, 49, 52, 90, 147, 149, 152, Spell correctly.
175
--Knowledge of Language
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--Vocabulary Acquisition and Use
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L.7.3. Use knowledge of language and its conventions when writing, speaking, reading, or listening.
147, 149, 151, 152, 172, 175 Choose language that expresses ideas precisely and concisely, recognizing and eliminating wordiness and redundancy.*
6, 19, 147, 149, 151, 152, 172, 175
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L.7.4. Determine or clarify the meaning of unknown and multiple‐meaning words and phrases based on grade 7 reading and content , choosing flexibly from a range of strategies.
Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.
Use common, grade‐appropriate Greek or Latin affixes and roots as clues to the meaning of a word (e.g., belligerent, bellicose, rebel ).
4, 5, 9, 11‐13, 16‐18, 57‐63, 94‐98, 101, 102, 107, 109, 114‐122, 127‐
129, 139, 140, 142, 144, 155, 158
35,
Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning or its part of speech.
4, 5, 9, 11‐13, 16‐18, 57‐63, 69, 94‐
100, 102‐107, 109‐122, 127‐129, 134‐136, 138, 140, 142, 143, 155‐
158
Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).
57‐63, 69, 94‐98, 101, 102, 107, 109, 114‐122, 127‐129, 139, 140, 142, 155, 158
L.7.5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
Interpret figures of speech (e.g., literary, biblical, and mythological allusions) in context.
72‐74, 76, 80, 83, 89, 135
Use the relationship between particular words (e.g., synonym/antonym, analogy) to better understand each of the words.
56, 82, 89, 172
Distinguish among the connotations (associations) of words with similar denotations (definitions) (e.g., refined, respectful, polite, diplomatic, condescending ).
3,
SA
L.7.6. Acquire and use accurately grade‐appropriate general academic and domain‐specific words and phrases; gather 4‐7, 9, 11‐13, 16‐18, 41, 57‐63, 69, vocabulary knowledge when considering a word or phrase 94‐107, 109‐122, 127‐129, 134‐
important to comprehension or expression.
136, 139, 140, 142‐144
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LANGUAGE ARTS — LESSON 1-1
STUDENT MANUAL
Lesson 1
Introduction to Note-taking
Note-taking is as important to learning as reading and writing. To help you see why and
how note-taking can make a difference in how you learn, study and improve your grades,
note-taking will be required throughout this course.
But first, you’ll need to learn how to take notes.
The most convenient format is called Cornell notes. This note-taking system can be used in
every course you take, not just English. In fact, this method is used in most law schools and
medical schools across the country. As you will see, it is simple, yet effective and the format
makes studying easier and much more productive.
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Using the Cornell Method
When you use Cornell notes, you will need to alter your note paper to create spaces for
certain types of information.
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To begin, create a left margin of the paper that is 2 ½ inches wide by drawing a line down
from the top of the page to about 2 inches from the bottom of the page. You now have a
sheet of paper that has 2 columns – one is 2 ½ inches wide and the other is 6 inches wide.
The left column is labeled “Cue Column” – that is where you will write “cues” which are
key words, terms, or concepts being taught. Cues also summarize what your
notes are about.
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The right column is your “Note-taking Column” – this is where you will write down
information your teacher is giving you. Definitions, explanations, key facts or details that
explain the Cue are examples of the type of information to write down.
When your teacher begins on a new topic, skip down a few lines, write the key word or
topic in the Cue column and continue to jot down notes in the Notes column.
Use the bottom 2 inches of the paper as the Summary section. Spend a couple minutes at
the end of class summarizing what your notes on that page are about.
After class, go through your notes and try to add details you recall or rewrite some of the
phrases you wrote down so they are complete sentences. It’s very important to do these
things while the information is still fresh.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 1-2
Here is an example of how your note paper might look if you took notes during a brief
presentation about note-taking:
Let’s practice!
Set up a piece of notepaper for Cornell notes.
Read the explanation below about the writing process. As you read, write down the key
terms, and the explanations on your paper.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 1-3
The Writing Process
Have you ever felt stuck when trying to write? Trying to find the one perfect idea to write
about can be frustrating and a little scary. There are many different ways to extract that
one perfect idea from the back of your mind. Pre-writing strategies will help you become
more focused with your writing.
One pre-writing strategy is brainstorming. One way to brainstorm is to set a timer for 60
seconds and make a list of everything you are thinking. Brainstorming by making lists gets
all of your thoughts on paper and will allow you to go back and organize your thoughts
before writing.
Another pre-writing strategy is clustering. Cluster mapping, often called webbing, helps
you take one main idea and create categories that “branch” off from the main idea. This
will allow you to organize your thoughts while brainstorming. By using this method, you
may not have to go back to re-order your thoughts.
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Swimming
Sand
Castles
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The
Beach
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Sun
Screen
Beach
Towels
One final strategy that you may use is a writer’s journal. A writer’s journal is a special
notebook that you will set aside to keep special thoughts and experiences written down.
It is your daily journal. You can include your daily thoughts, experiences, imaginary images
or even prompts of your own, for example: My Favorite Songs, or, Interesting People I Saw
Today.
As you move on through this course, you will use several pre-writing strategies. You will
find that you like one more than another, but you will also find that your writing is more
focused and organized.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 1-4
Now that you have a little experience with Cornell notes under your belt,
find a newspaper article or magazine article that you are interested in reading. As you read
it, take Cornell notes. When you are finished, submit the article and your notes
to your teacher for assessment. You may use a printed copy of the newspaper or magazine,
or an online version of the article.
Lesson Wrap-Up: Effective note taking will remain an important skill throughout your
educational career. It is an extremely critical skill that you will use from now until you
graduate from college. Using Cornell notes will help you to stay organized and to
write the important information you will need to remember as you outline each new skill.
SA
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Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 2-1
Lesson 2
The Five Senses
An important part of any writing is to make it appealing. One way to make your reader
become emotionally invested is to appeal to the five senses. Your sensory details can
provide you with the most interesting and thoughtful details imaginable.
The sense of sight allows you to paint a picture with words. Some wonderful images
you may have seen are an orange and pink sunset, little children playing, or your family
sitting down together for dinner. Some other images you can paint with words are not so
beautiful, for example, a tornado, a forest fire, or a car accident. All of these images have
specific words which can be used to describe them. These can help you paint a picture with
your words.
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The sense of sound helps you define experiences by using words to describe what you
would hear in the situation. For example, if you are skiing downhill, you would hear the
swoosh, swoosh of the snow crunching underneath your skis. If you are in your backyard
at a family barbeque, you hear the cackle, cackle of laughter as your aunts retell old family
stories.
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Smell is a very important sense that is used to draw in readers. Describing specific events or
foods, or places by smell can lead the reader to create an image of the story. You may write
about the county fair and the sweet, smoky smell of ribs cooking on the grill. You could
describe the smell of pungent pine as your mom cleans the kitchen floor.
By describing taste, the author allows the reader to be right in the situation. The choice
of words you use to convey taste can set the reader’s taste buds tingling. When you write
about the county fair, you can write about the sugary, juicy ribs that fall off the bone as
you bite into them.
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The last sense is touch. Often times you can paint a picture of an item by describing what
it feels like. For example, “The jumbo crocodile’s scales are rough and razor sharp,” clearly
describes the texture of the scales of the crocodile.
As your vocabulary develops and you begin to own more sensory words, your writing will
strengthen and become more appealing to you and others.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 2-2
Complete the following exercises to build your sensory writing skills. Use three
to five sentences in each description.
1. You are walking with your blind uncle. Using the senses of sound and smell,
describe what the ocean is like.
2. Your pen pal in China has never had pizza. Describe in your own words what it
tastes like. Use words that appeal to the sense of taste.
3. You have never felt a cotton ball. Describe what it feels like using words that
appeal to the senses.
4. You have a friend who has never experienced making snow angels. Describe the
experience using sensory words.
5. Describe the sights, sounds, textures, odors, and tastes of eating lunch in a school
cafeteria.
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6. Describe your favorite breakfast using words that appeal to all of the senses.
7. Describe your favorite room using as many sensory words as possible.
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8. Think about the experience of going to see a movie in a theater. Describe the
experience using sensory words.
9. Remember an occasion when you have gone swimming. Describe the scene,
focusing on the sights, sounds, smells, and feel of the water as you went swimming.
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10. Think of your own idea of a place or experience to describe using sensory words.
The place could be a soccer field during a game, a baseball or football game,
church, a restaurant, a vacation experience, or anything else that stimulates your
imagination.
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Lesson Wrap-Up: Look through the writing samples. Notice how authors often appeal to
the senses in their writing. Using clear details makes the piece more interesting and easier
to read. As you continue with this course, look at how each author uses details in their
writing to paint mental pictures.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 3-1
Lesson 3
Sensory Details
Today you are going to do pre-writing for a story using sensory details. Please read the
directions and complete the activity.
Using a cluster map, brainstorm all of the ideas you can think of for the word SNOW.
Building
a Snowman
Sledding
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Snow
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Downhill
Skiing
Wearing
Boots
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Good! Now that you have some great words, put them together in a journal entry.
What is the first experience you can remember with snow? If you have never experienced
snow, what would you imagine it is like?
Please write at least two paragraphs describing this experience. Use as many sensory words
as you can.
Now that you have been practicing writing with sensory words, you are ready for a longer
writing assignment. Refer to the ten sensory descriptions you composed for Lesson 2. Select
one, and expand the description to a one page composition on the subject. Be sure to
include all five senses in your writing.
When you have completed the description, review it. Check it for spelling, punctuation,
and grammatical correctness. If possible, ask a peer or your teacher to look it over, also.
Be sure the sentences are complete and express your thoughts accurately. Then, make a
final copy of the writing piece. Submit both copies to your teacher for assessment.
Lesson Wrap-Up: Using sensory words effectively in your writing takes practice. It is
a skill that will greatly enhance your writing, so it is very much worthwhile to develop.
Consciously use sensory words in all of your compositions and watch your writing improve!
PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 4-2
Lesson 4
The Cremation of Sam McGee
by Robert Service
Vocabulary Work
To begin this Lesson, set up your paper for Cornell notes. In the Cue Column, list each
vocabulary word.<4FF-FTTPOGPSJOTUSVDUJPOTPOIPXUPTFUVQZPVSQBQFSGPS$PSOFMMOPUFT>
The Vocabulary words for this Lesson are: Moil; Marge; Mushing; Cremate; Ghastly;
Loathed; Brawn; Derelict; and Hearkened.
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In the Note-taking Column, write the definition from the dictionary and an original sentence
using the vocabulary word.
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After you finish your vocabulary list, be creative! Make a crossword puzzle using your
Vocabulary words. Visit puzzle making websites for ideas. If you prefer to draw your own
crossword puzzle using graph paper, you may do that, also. All of the Vocabulary words
must be included in your puzzle. You will need to add words of your own to make the
puzzle work. Use other words from the poem to create a high quality puzzle. It will be fun!
Good luck!
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Lesson Wrap-Up: Finding the meaning of an unknown word prior to reading will help
enhance your understanding of the text. Throughout this course, you will be presented
with Vocabulary words and tests. As you work on the writing portion of this course, try to
incorporate as many Vocabulary words as you can into your writing assignments.
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PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 5-1
Lesson 5
The Cremation of Sam McGee
by Robert Service
Introduction to Descriptive Language
The poem you are going to read in this Lesson is a tale of the bitter cold of Canada’s Yukon
Territory and its consequences for Sam McGee and his friend.
Read the poem carefully, then complete the Reading Comprehension Questions.
Reading Comprehension Questions
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What was Sam McGee doing in the Arctic?
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Sam asks the speaker to make him a promise, what is it?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 5-2
Why does the cold weather disagree with Sam McGee?
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Why does the speaker keep his promises? What does he say to let the reader know he
plans to keep his promise?
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What does the speaker find when he opens the furnace door?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 5-3
Give five examples of descriptive language used in the poem which contribute to the
feeling of bitter cold.
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What happens next? What will Sam and the speaker do? Create your own conclusion to
the poem. Add two more stanzas to the poem.
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Lesson Wrap-Up: Choose two Vocabulary words and use them in one or two original
sentences about a character, scene or action in the poem.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 5-4
The Cremation of Sam McGee
By Robert Service
There are strange things done in the midnight sun
By the men who moil for gold;
The Arctic trails have their secret tales
That would make your blood run cold;
The Northern Lights have seen queer sights,
But the queerest they ever did see
Was the night on the marge of Lake Lebarge
I cremated Sam McGee.
SA
Now Sam McGee was from Tennessee, where the cotton blooms and blows.
Why he left his home in the South to roam ‘round the Pole, God only knows.
He was always cold, but the land of gold seemed to hold him like a spell;
Though he’d often say in his homely way that he’d “sooner live in hell”.
M
On a Christmas Day we were mushing our way over the Dawson trail.
Talk of your cold! through the parka’s fold it stabbed like a driven nail.
If our eyes we’d close, then the lashes froze till sometimes we couldn’t see;
It wasn’t much fun, but the only one to whimper was Sam McGee.
PL
And that very night, as we lay packed tight in our robes beneath the snow,
And the dogs were fed, and the stars o’erhead were dancing heel and toe,
He turned to me, and “Cap,” says he, “I’ll cash in this trip, I guess;
And if I do, I’m asking that you won’t refuse my last request.”
E
Well, he seemed so low that I couldn’t say no; then he says with a sort of moan:
“It’s the cursed cold, and it’s got right hold till I’m chilled clean through to the bone.
Yet ‘tain’t being dead — it’s my awful dread of the icy grave that pains;
So I want you to swear that, foul or fair, you’ll cremate my last remains.”
A pal’s last need is a thing to heed, so I swore I would not fail;
And we started on at the streak of dawn; but God! he looked ghastly pale.
He crouched on the sleigh, and he raved all day of his home in Tennessee;
And before nightfall a corpse was all that was left of Sam McGee.
There wasn’t a breath in that land of death, and I hurried, horror-driven,
With a corpse half hid that I couldn’t get rid, because of a promise given; I
t was lashed to the sleigh, and it seemed to say: “You may tax your brawn and brains,
But you promised true, and it’s up to you to cremate those last remains.”
Now a promise made is a debt unpaid, and the trail has its own stern code.
In the days to come, though my lips were dumb, in my heart how I cursed that load.
In the long, long night, by the lone firelight, while the huskies, round in a ring,
Howled out their woes to the homeless snows — O God! how I loathed the thing.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 5-5
And every day that quiet clay seemed to heavy and heavier grow;
And on I went, though the dogs were spent and the grub was getting low;
The trail was bad, and I felt half mad, but I swore I would not give in;
And I’d often sing to the hateful thing, and it hearkened with a grin.
Till I came to the marge of Lake Lebarge, and a derelict there lay;
It was jammed in the ice, but I saw in a trice it was called the “Alice May”.
And I looked at it, and I thought a bit, and I looked at my frozen chum;
Then “Here”, said I, with a sudden cry, “is my cre-ma-tor-eum.”
Some planks I tore from the cabin floor, and I lit the boiler fire;
Some coal I found that was lying around, and I heaped the fuel higher;
The flames just soared, and the furnace roared — such a blaze you seldom see;
And I burrowed a hole in the glowing coal, and I stuffed in Sam McGee.
SA
Then I made a hike, for I didn’t like to hear him sizzle so;
And the heavens scowled, and the huskies howled, and the wind began to blow.
It was icy cold, but the hot sweat rolled down my cheeks, and I don’t know why;
And the greasy smoke in an inky cloak went streaking down the sky.
PL
M
I do not know how long in the snow I wrestled with grisly fear;
But the stars came out and they danced about ere again I ventured near;
I was sick with dread, but I bravely said: “I’ll just take a peep inside.
I guess he’s cooked, and it’s time I looked”;. . . then the door I opened wide.
And there sat Sam, looking cool and calm, in the heart of the furnace roar;
And he wore a smile you could see a mile, and he said: “Please close that door.
It’s fine in here, but I greatly fear you’ll let in the cold and storm —
Since I left Plumtree, down in Tennessee, it’s the first time I’ve been warm.”
Print Form
E
There are strange things done in the midnight sun
By the men who moil for gold;
The Arctic trails have their secret tales
That would make your blood run cold;
The Northern Lights have seen queer sights,
But the queerest they ever did see
Was that night on the marge of Lake Lebarge
I cremated Sam McGee.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 6-1
Lesson 6
The Cremation of Sam McGee
Descriptive Writing
There are times in everyone’s lives when they have been EXTREMELY tired, hungry, cold, or
scared. In the poem The Cremation of Sam McGee, Sam was sick to death of being cold. To
him, being cremated was a cozy and comfortable experience.
For this Lesson, you will write 2 narrative essays. To prepare for the first one, think about
what it means to you to be cold, tired, hungry, or scared.
Use descriptive language which appeals to the five senses.
SA
Your narrative should be three to four paragraphs with complete sentences, correct
punctuation, and grammar.
Turn in a draft copy, then a final copy showing corrections and evidence of revision to your
teacher.
M
Focus your writing on one of the following topics:
t Tell about a time when you actually felt cold, tired, hungry, or scared.
PL
t Write about what a person who is trapped in a blizzard must feel like.
t Write about what a person who hasn’t eaten in days must feel like.
t Write about what a person facing a life threatening situation must feel like.
E
t Write about a situation that you may have heard about where someone was
injured by cold.
Descriptive Writing often describes a person, place, thing or event. This type of writing
allows the author to create a mental picture with words. Much like an artist must choose
her colors carefully, the writer must choose her words so the reader’s imagination will be
opened.
Most Descriptive Writing includes the following characteristics:
t Use of Sensory Details
t Clear organization
t Emotional connections
t One main idea or focus
STUDENT MANUAL
LANGUAGE ARTS — LESSON 6-2
There is more than one type of Descriptive Writing. Although The Cremation of Sam
McGee was an embellished, fictionalized account of an event, the author painted a clear
picture of the frozen, cold climate of the Gold Rush.
Descriptive Writings may be one of the following:
Memories: The author captures a particular experience or related events in his life.
Vignettes: The author captures a single moment in her life like a picture painted with
words.
Observations: The author writes about an event he witnessed, but with which he may
not have had direct involvement.
SA
Descriptions of people and places: The author describes the physical and internal traits
of a person or place to signify its importance in the writing.
Take a moment and reflect on these types of Descriptive Writing. Discuss with your teacher
what each one means. Ask your teacher for examples of each type of writing to be clear on
their differences.
M
Now, choose one of the topics below to write a three to four paragraph narrative:
-OR-
PL
Write about a time when you felt extreme happiness. This will be a vignette of a single
moment in your life. Be as descriptive as possible.
E
Write about a person in your life who has recently been kind to you. This will be a
description of a person, so you will need to describe him or her with enough detail to give
your reader a clear image or sense of the person.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 6-3
Your audience will be an interested adult. You will be graded on the rubric below.
Student Self-Assessment Rubric for Descriptive Writing
SA
PL
M
E
Lesson Wrap-Up: Your descriptive piece should engage the reader’s interest and create a
sense of empathy between the reader and what you have described.
Do you think your reader could actually see and feel the cold, the exhaustion, hunger, or
fear you wrote about in your first narrative?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 7-1
Lesson 7
To Be or Not to Bee
Homophones
Spelling errors happen! One of the most common errors is with homophones. A
homophone is a word that sounds like another word, but has a different meaning
and spelling.
Many times, spell check software will not detect these types of errors. It is up to you,
the writer, to proofread your work.
Here are some examples of common homophones. Have any of them ever given you
trouble?
SA
There, Their, and They’re
There is an adverb showing where something is located.
The line for tickets starts over there by the window.
M
Their is a possessive pronoun showing ownership.
Their new car is something Matt and Sheila are proud of.
They’re is a contraction for the words they are.
The supervisor wondered when they’re going to arrive.
PL
Too, To, Two
Too is an adverb meaning to an excessive degree or in addition.
There is too much cold air seeping into the room.
The youngest child wanted to attend the party, too.
E
To is a preposition.
Going to the store with my parents is a lot of fun.
Two is the number between one and three.
Laura gave her daughter two cookies.
Whether, Weather
Whether is a conjunction used to introduce the first of two options.
Alfonzo could not decide whether he should go to his cousin’s house or stay
home.
Weather is a noun referring to conditions of the atmosphere.
The weather was not pleasant enough to have a picnic lunch; it was raining.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 7-2
Principal, Principle
Principal is a noun referring to the chief administrative position in a school.
It is the principal’s responsibility to supervise the teachers.
Principle is a noun referring to a guiding rule of correct conduct or behavior.
The principle of treating others fairly is important to me.
Which, Witch
Which can be a pronoun referring to a specific antecedent or an adjective specifying one
of several.
This meal, which I just finished, was delicious.
I decided on the color which best matched my new bicycle.
Witch is a noun referring to woman who is said to practice magic or who is said to be a hag.
The woman was such a grouchy nag that her neighbors called her a witch.
SA
Some writers suggest using mnemonic devices to remember the spelling. For example, look
at the words their and there. The word there is the opposite of here. There has here in it.
Here are some mnemonic devices that may help you remember.
M
1. The principal is your pal.
2. Add one and one and you get the number two.
3. They are in this world. (They’re) They’re is the contraction for they are.
PL
Lesson Wrap-Up: Create your own original homophones. In your notebook, write each
word, showing how each is spelled differently and give the definition for each word.
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 7-3
Homophone Practice Sheet
Choose the correct homophone to fill in the blank.
1.
going to go to the party together.
a. Their
b. There
c. They’re
2. My mom has
a. To
b. Too
c. Two
is warm and sunny.
SA
3. My favorite
a. Whether
b. Weather
many pairs of shoes.
4. Yesterday, my
a. Principal
b. Principle
7.
shirt matches these pants.
PL
6. The lawyer’s
a. Principals
b. Principles
M
5. I am not sure
a. Witch
b. Which
came to the class to talk to my teacher.
regarding right and wrong were right on target.
youngest son is not very well behaved.
8. I can hardly wait to go
a. Their
b. There
c. They’re
9. The girl dressed up as a
a. Witch
b. Which
10. The high school graduate couldn’t decide
trade school.
a. Weather
b. Whether
Print Form
E
a. Their
b. There
c. They’re
on vacation.
for Halloween.
to go to college or a
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-1
Lesson 8
Strategies for Reading Fiction
Which Make Men Remember
by Jack London
Stories come from a variety of places and people. Story telling was the original
entertainment, before television and video games. Some stories are told orally, like
campfire stories and some come from books. No matter where or when they are told,
stories all begin in someone’s imagination. These stories are called fiction. There are two
forms of fiction, short stories and novels. Both of these contain the literary elements of
plot, character, setting, and theme.
SA
Fictional stories can be based on actual events, or real people. They may be changed by
adding characters, or extra events. Fiction’s purpose is to entertain the reader. Fiction can
also enhance the reader’s life-long love for reading.
M
When writing fiction, the author usually tries to tie in a lesson or a main message within
the story. The lesson may be about life or human nature. More often than not, the theme is
not directly stated. Different readers may find different themes in the same story. Here are
some tips on finding the theme in fiction stories.
tThink about the meaning of the story’s title.
tWhen reading the story, look for key phrases, or sentences with big ideas like
fate, fear, justice.
tLook at the main character(s) and see how they change throughout the story.
What do they learn?
E
Reading Fiction Strategies
PL
Preview: Skim through the story before you read it. Look at the title, check for
illustrations. Look at the Vocabulary words and check for any notes.
As you read, think about the characters’ emotions and experiences. Can you make a
connection to any character?
Ask questions as you read the story. Question the events, characters and ideas in the story.
As you read, look to answer your questions.
Make predictions about what will happen next in the story. Make a prediction as to how
the story will end or how events will unfold as they are happening.
Can you visualize the characters or setting? Does the author paint a clear enough picture?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-2
Make an evaluation of the characters as you read. Do your feelings about them change?
Keep a clear idea of what you are reading. If you find yourself getting lost, stop and re-read.
It’s ok to go back.
After taking notes on the above strategies to use when reading fiction, you will have an
opportunity to put them into practice.
Preview the story Which Make Men Remember by Jack London. Apply the strategies you
just learned to this piece of fiction. Record all of your responses in your notebook.
As you preview the story, notice the words printed in bold type. Those are the Vocabulary
words you should know for understanding the story. Look each word up in the dictionary
and record its definition, using the Cornell notes. Then write each word in an original
sentence.
SA
There are two places in the story where you are asked to stop reading and make a
prediction.
Think about both characters. Tell which character you identify with the most. Explain your
answer.
PL
M
As you read, questions will occur to you. Perhaps you don’t understand what is happening.
Perhaps you wonder why the author has constructed the story in this way. Write your
questions in your notebook.
Lesson Wrap-Up: You have learned a lot today about reading fiction. The care you took
as you read, learning Vocabulary words, making predictions, asking questions, and thinking
about characters, substantially increased your understanding of the story. Which strategies
do you think you’ll use when reading Which Make Men Remember?
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-3
Which Make Men Remember
by Jack London
Fortune La Pearle crushed his way through the snow, sobbing, straining, cursing his luck, Alaska,
Nome, the cards, and the man who had felt his knife. The hot blood was freezing on his hands,
and the scene yet bright in his eyes,--the man, clutching the table and sinking slowly to the floor;
the rolling counters and the scattered deck; the swift shive throughout the room, and the pause;
the game-keepers no longer calling, and the clatter of the chips dying away; the startled faces; the
infinite instant of silence; and then the great blood-roar and the tide of vengeance which lapped
his heels and turned the town mad behind him.
SA
“All hell’s broke loose,” he sneered, turning aside in the darkness and heading for the beach. Lights
were flashing from open doors, and tent, cabin, and dance-hall let slip their denizens upon the
chase. The clamor of men and howling of dogs smote his ears and quickened his feet. He ran on
and on. The sounds grew dim, and the pursuit dissipated itself in vain rage and aimless groping.
But a flitting shadow clung to him. Head thrust over shoulder, he caught glimpses of it, now
taking vague shape on an open expanse of snow, how merging into the deeper shadows of some
darkened cabin or beach-listed craft.
M
PL
Fortune La Pearle swore like a woman, weakly, with the hint of tears that comes of exhaustion,
and plunged deeper into the maze of heaped ice, tents, and prospect holes. He stumbled over
taut hawsers and piles of dunnage, tripped on crazy guy-ropes and insanely planted pegs, and
fell again and again upon frozen dumps and mounds of hoarded driftwood. At times, when
he deemed he had drawn clear, his head dizzy with the painful pounding of his heart and the
suffocating intake of his breath, he slackened down; and ever the shadow leaped out of the gloom
and forced him on in heart-breaking flight. A swift intuition lashed upon him, leaving in its
trail the cold chill of superstition. The persistence of the shadow he invested with his gambler’s
symbolism. Silent, inexorable, not to be shaken off, he took it as the fate which waited at the
last turn when chips were cashed in and gains and losses counted up. Fortune La Pearle believed
in those rare, illuminating moments, when the intelligence flung from it time and space, to rise
naked through eternity and read the facts of life from the open book of chance. That this was such
a moment he had no doubt; and when he turned inland and sped across the snow-covered tundra
he was not startled because the shadow took upon it greater definiteness and drew in closer.
Oppressed with his own impotence, he halted in the midst of the white waste and whirled about.
His right hand slipped from its mitten, and a revolver, at level, glistened in the pale light of the
stars.
E
“Don’t shoot. I haven’t a gun.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-4
The shadow had assumed tangible shape, and at the sound of its human voice a trepidation
affected Fortune La Pearle’s knees, and his stomach was stricken with the qualms of sudden relief.
Perhaps things fell out differently because Uri Bram had no gun that night when he sat on the
hard benches of the El Dorado and saw murder done. To that fact also might be attributed the trip
on the Long Trail which he took subsequently with a most unlikely comrade. But be it as it may, he
repeated a second time, “Don’t shoot. Can’t you see I haven’t a gun?”
“Then what the flaming hell did you take after me for?” demanded the gambler, lowering his
revolver.
Uri Bram shrugged his shoulders. “It don’t matter much, anyhow. I want you to come with me.”
SA
“Where?”
“To my shack, over on the edge of the camp.”
M
PL
But Fortune La Pearle drove the heel of his moccasin into the snow and attested by his various
deities to the madness of Uri Bram. “Who are you,” he perorated, “and what am I, that I should
put my neck into the rope at your bidding?”
E
“I am Uri Bram,” the other said simply, “and my shack is over there on the edge of camp.
I don’t know who you are, but you’ve thrust the soul from a living man’s body,--there’s the blood
red on your sleeve,--and, like a second Cain, the hand of all mankind is against you, and there is
no place you may lay your head. Now, I have a shack--”
“For the love of your mother, hold your say, man,” interrupted Fortune La Pearle, “or I’ll make you
a second Abel for the joy of it. So help me, I will! With a thousand men to lay me by the heels,
looking high and low, what do I want with your shack? I want to get out of here--away! away!
away! Cursed swine! I’ve half a mind to go back and run amuck, and settle for a few of them, the
pigs! One gorgeous, glorious fight, and end the whole damn business! It’s a skin game, that’s what
life is, and I’m sick of it!”
He stopped, appalled, crushed by his great desolation, and Uri Bram seized the moment. He was
not given to speech, this man, and that which followed was the longest in his life, save one long
afterward in another place.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-5
“That’s why I told you about my shack. I can stow you there so they’ll never find you, and I’ve got
grub in plenty. Elsewise you can’t get away. No dogs, no nothing, the sea closed, St. Michael the
nearest post, runners to carry the news before you, the same over the portage to Anvik--not a
chance in the world for you! Now wait with me till it blows over. They’ll forget all about you in
a month or less, what of stampeding to York and what not, and you can hit the trail under their
noses and they won’t bother. I’ve got my own ideas of justice. When I ran after you, out of the El
Dorado and along the beach, it wasn’t to catch you or give you up. My ideas are my own, and that’s
not one of them.”
Stop reading and make a prediction.
What does Uri mean when he says, “my ideas are my own and that’s not one of them?”
Record your prediction in your notebook or on the lines provided.
SA
PL
M
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-6
He ceased as the murderer drew a prayer-book from his pocket. With the aurora borealis
glimmering yellow in the northeast, heads bared to the frost and naked hands grasping the sacred
book, Fortune La Pearle swore him to the words he had spoken--an oath which Uri Bram never
intended breaking, and never broke.
SA
At the door of the shack the gambler hesitated for an instant, marveling at the strangeness of this
man who had befriended him, and doubting. But by the candlelight he found the cabin comfortable
and without occupants, and he was quickly rolling a cigarette while the other man made coffee. His
muscles relaxed in the warmth and he lay back with half-assumed indolence, intently studying Uri’s
face through the curling wisps of smoke. It was a powerful face, but its strength was of that peculiar
sort which stands girt in and unrelated. The seams were deep-graven, more like scars, while the
stern features were in no way softened by hints of sympathy or humor. Under prominent bushy
brows the eyes shone cold and gray. The cheekbones, high and forbidding, were undermined by deep
hollows. The chin and jaw displayed a steadiness of purpose which the narrow forehead advertised
as single, and, if needs be, pitiless. Everything was harsh, the nose, the lips, the voice, the lines about
the mouth. It was the face of one who communed much with himself, unused to seeking counsel
from the world; the face of one who wrestled oft of nights with angels, and rose to face the day with
shut lips that no man might know. He was narrow but deep; and Fortune, his own humanity broad
and shallow, could make nothing of him. Did Uri sing when merry and sigh when sad, he could have
understood; but as it was, the cryptic features were undecipherable; he could not measure the soul
they concealed.
M
“Lend a hand, Mister Man,” Uri ordered when the cups had been emptied. “We’ve got to fix up for
visitors.”
PL
Fortune purred his name for the other’s benefit, and assisted understandingly. The bunk was built
against a side and end of the cabin. It was a rude affair, the bottom being composed of drift-wood
logs overlaid with moss. At the foot the rough ends of these timbers projected in an uneven row.
From the side next the wall Uri ripped back the moss and removed three of the logs. The jagged ends
he sawed off and replaced so that the projecting row remained unbroken. Fortune carried in sacks
of flour from the cache and piled them on the floor beneath the aperture. On these Uri laid a pair of
long sea-bags, and over all spread several thicknesses of moss and blankets. Upon this Fortune could
lie, with the sleeping furs stretching over him from one side of the bunk to the other, and all men
could look upon it and declare it empty.
E
In the weeks which followed, several domiciliary visits were paid, not a shack or tent in Nome
escaping, but Fortune lay in his cranny undisturbed. In fact, little attention was given to Uri Bram’s
cabin; for it was the last place under the sun to expect to find the murderer of John Randolph.
Except during such interruptions, Fortune lolled about the cabin, playing long games of solitaire
and smoking endless cigarettes. Though his volatile nature loved geniality and play of words and
laughter, he quickly accommodated himself to Uri’s taciturnity. Beyond the actions and plans of his
pursuers, the state of the trails, and the price of dogs, they never talked; and these things were only
discussed at rare intervals and briefly. But Fortune fell to working out a system, and hour after hour,
and day after day, he shuffled and dealt, shuffled and dealt, noted the combinations of the cards in
long columns, and shuffled and dealt again. Toward the end even this absorption failed him, and,
head bowed upon the table, he visioned the lively all-night houses of Nome, where the gamekeepers
and lookouts worked in shifts and the clattering roulette ball never slept. At such times his loneliness
and bankruptcy stunned him till he sat for hours in the same unblinking, unchanging position. At
other times, his long-pent bitterness found voice in passionate outbursts; for he had rubbed the
world the wrong way and did not like the feel of it.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-7
“Life’s a skin-game,” he was fond of repeating, and on this one note he rang the changes. “I never
had half a chance,” he complained. “I was faked in my birth and flim-flammed with my mother’s
milk. The dice were loaded when she tossed the box, and I was born to prove the loss. But that was
no reason she should blame me for it, and look on me as a cold deck; but she did--ay, she did. Why
didn’t she give me a show? Why didn’t the world? Why did I go broke in Seattle? Why did I take
the steerage, and live like a hog to Nome? Why did I go to the El Dorado? I was heading for Big
Pete’s and only went for matches. Why didn’t I have matches? Why did I want to smoke? Don’t you
see? All worked out, every bit of it, all parts fitting snug. Before I was born, like as not. I’ll put the
sack I never hope to get on it, before I was born. That’s why! That’s why John Randolph passed the
word and his checks in at the same time. Damn him! It served him well right! Why didn’t he keep
his tongue between his teeth and give me a chance? He knew I was next to broke. Why didn’t I hold
my hand? Oh, why? Why? Why?”
SA
And Fortune La Pearle would roll upon the floor, vainly interrogating the scheme of things. At such
outbreaks Uri said no word, gave no sign, save that his grey eyes seemed to turn dull and muddy, as
though from lack of interest. There was nothing in common between these two men, and this fact
Fortune grasped sufficiently to wonder sometimes why Uri had stood by him.
PL
M
But the time of waiting came to an end. Even a community’s blood lust cannot stand before its gold
lust. The murder of John Randolph had already passed into the annals of the camp, and there it
rested. Had the murderer appeared, the men of Nome would certainly have stopped stampeding
long enough to see justice done, whereas the whereabouts of Fortune La Pearle was no longer an
insistent problem. There was gold in the creek beds and ruby beaches, and when the sea opened, the
men with healthy sacks would sail away to where the good things of life were sold absurdly cheap.
E
So, one night, Fortune helped Uri Bram harness the dogs and lash the sled, and the twain took the
winter trail south on the ice. But it was not all south; for they left the sea east from St. Michael’s,
crossed the divide, and struck the Yukon at Anvik, many hundred miles from its mouth. Then on,
into the northeast, past Koyokuk, Tanana, and Minook, till they rounded the Great Curve at Fort
Yukon, crossed and recrossed the Arctic Circle, and headed south through the Flats. It was a weary
journey, and Fortune would have wondered why the man went with him, had not Uri told him that
he owned claims and had men working at Eagle. Eagle lay on the edge of the line; a few miles farther
on, the British flag waved over the barracks at Fort Cudahy. Then came Dawson, Pelly, the Five
Fingers, Windy Arm, Caribou Crossing, Linderman, the Chilcoot and Dyea.
On the morning after passing Eagle, they rose early. This was their last camp, and they were now to
part. Fortune’s heart was light. There was a promise of spring in the land, and the days were growing
longer. The way was passing into Canadian territory. Liberty was at hand, the sun was returning, and
each day saw him nearer to the Great Outside. The world was big, and he could once again paint his
future in royal red. He whistled about the breakfast and hummed snatches of light song while Uri
put the dogs in harness and packed up. But when all was ready, Fortune’s feet itching to be off, Uri
pulled an unused back-log to the fire and sat down.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-8
“Ever hear of the Dead Horse Trail?”
He glanced up meditatively and Fortune shook his head, inwardly chafing at the delay.
SA
“Sometimes there are meetings under circumstances which make men remember,” Uri continued,
speaking in a low voice and very slowly, “and I met a man under such circumstances on the
Dead Horse Trail. Freighting an outfit over the White Pass in ‘97 broke many a man’s heart, for
there was a world of reason when they gave that trail its name. The horses died like mosquitoes
in the first frost, and from Skaguay to Bennett they rotted in heaps. They died at the Rocks, they
were poisoned at the Summit, and they starved at the Lakes; they fell off the trail, what there was
of it, or they went through it; in the river they drowned under their loads, or were smashed to
pieces against the boulders; they snapped their legs in the crevices and broke their backs falling
backwards with their packs; in the sloughs they sank from sight or smothered in the slime, and
they were disemboweled in the bogs where the corduroy logs turned end up in the mud; men shot
them, worked them to death, and when they were gone, went back to the beach and bought more.
Some did not bother to shoot them,--stripping the saddles off and the shoes and leaving them
where they fell. Their hearts turned to stone--those which did not break--and they became beasts,
the men on Dead Horse Trail.
M
PL
“It was there I met a man with the heart of a Christ and the patience. And he was honest. When
he rested at midday he took the packs from the horses so that they, too, might rest. He paid $50 a
hundred-weight for their fodder, and more. He used his own bed to blanket their backs when they
rubbed raw. Other men let the saddles eat holes the size of water- buckets. Other men, when the
shoes gave out, let them wear their hoofs down to the bleeding stumps. He spent his last dollar for
horseshoe nails. I know this because we slept in the one bed and ate from the one pot, and became
blood brothers where men lost their grip of things and died blaspheming God. He was never too
tired to ease a strap or tighten a cinch, and often there were tears in his eyes when he looked on
all that waste of misery. At a passage in the rocks, where the brutes upreared hind legged and
stretched their forelegs upward like cats to clear the wall, the way was piled with carcasses where
they had toppled back. And here he stood, in the stench of hell, with a cheery word and a hand on
the rump at the right time, till the string passed by. And when one bogged he blocked the trail till
it was clear again; nor did the man live who crowded him at such time.
E
“At the end of the trail a man who had killed fifty horses wanted to buy, but we looked at him
and at our own,--mountain cayuses from eastern Oregon. Five thousand he offered, and we were
broke, but we remembered the poison grass of the Summit and the passage in the Rocks, and the
man who was my brother spoke no word, but divided the cayuses into two bunches,--his in the
one and mine in the other,--and he looked at me and we understood each other. So he drove mine
to the one side and I drove his to the other, and we took with us our rifles and shot them to the
last one, while the man who had killed fifty horses cursed us till his throat cracked. But that man,
with whom I welded blood-brothership on the Dead Horse Trail--”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-9
“Why, that man was John Randolph,” Fortune, sneering the while, completed the climax for him.
Uri nodded, and said, “I am glad you understand.”
Stop reading and make a prediction.
What will happen now? Record your prediction in your notebook or on the lines provided.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-10
“I am ready,” Fortune answered, the old weary bitterness strong in his face again. “Go ahead, but
hurry.”
Uri Bram rose to his feet.
“I have had faith in God all the days of my life. I believe He loves justice. I believe He is looking
down upon us now, choosing between us. I believe He waits to work His will through my own
right arm. And such is my belief, that we will take equal chance and let Him speak His own
judgment.”
Fortune’s heart leaped at the words. He did not know much concerning Uri’s God, but he believed
in Chance, and Chance had been coming his way ever since the night he ran down the beach and
across the snow. “But there is only one gun,” he objected.
SA
“We will fire turn about,” Uri replied, at the same time throwing out the cylinder of the other
man’s Colt and examining it.
M
“And the cards to decide! One hand of seven up!”
PL
Fortune’s blood was warming to the game, and he drew the deck from his pocket as Uri nodded.
Surely Chance would not desert him now! He thought of the returning sun as he cut for deal,
and he thrilled when he found the deal was his. He shuffled and dealt, and Uri cut him the Jack
of Spades. They laid down their hands. Uri’s was bare of trumps, while he held ace, deuce. The
outside seemed very near to him as they stepped off the fifty paces.
E
“If God withholds His hand and you drop me, the dogs and outfit are yours. You’ll find a bill of
sale, already made out, in my pocket,” Uri explained, facing the path of the bullet, straight and
broad-breasted.
Fortune shook a vision of the sun shining on the ocean from his eyes and took aim. He was very
careful. Twice he lowered as the spring breeze shook the pines. But the third time he dropped on
one knee, gripped the revolver steadily in both hands, and fired. Uri whirled half about, threw up
his arms, swayed wildly for a moment, and sank into the snow. But Fortune knew he had fired too
far to one side, else the man would not have whirled.
When Uri, mastering the flesh and struggling to his feet, beckoned for the weapon, Fortune was
minded to fire again. But he thrust the idea from him. Chance had been very good to him already,
he felt, and if he tricked now he would have to pay for it afterward. No, he would play fair. Besides
Uri was hard hit and could not possibly hold the heavy Colt long enough to draw a bead.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 8-11
“And where is your God now?” he taunted, as he gave the wounded man the revolver.
And Uri answered: “God has not yet spoken. Prepare that He may speak.”
Fortune faced him, but twisted his chest sideways in order to present less surface. Uri tottered
about drunkenly, but waited, too, for the moment’s calm between the cats paws. The revolver was
very heavy, and he doubted, like Fortune, because of its weight. But he held it, arm extended,
above his head, and then let it slowly drop forward and down. At the instant Fortune’s left breast
and the sight flashed into line with his eye, he pulled the trigger. Fortune did not whirl, but
gay San Francisco dimmed and faded, and as the sun-bright snow turned black and blacker, he
breathed his last malediction on the Chance he had misplayed.
SA
PL
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Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 9-1
Lesson 9
Which Make Men Remember
by Jack London
Summary and Reflections
In this Lesson, you will provide written answers to a variety of questions pertaining to Jack
London’s short story, Which Make Men Remember.
The first question prompted you to show that you understood the entire story by retelling
it in a few sentences. That is called a summary.
SA
Other questions require you to think about the story, not only to recall specific information,
but also to consider aspects of the story. One such aspect could be the author’s intent or
purpose in writing either a particular passage or the entire story. When you think back this
way, it is called reflecting.
PL
M
Lesson Wrap-Up: For every ounce of effort you put into completing the Review Questions
assignment, you will become a more skilled writer and gain a better understanding of
writing techniques that will enable you to appreciate and enjoy literature. Keep up the
good work!
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 9-2
Which Make Men Remember Review Questions
Which Make Men Remember is a story that makes the reader wonder why Uri decides to
befriend Fortune. The wonder is what drives the reading forward.
Summarize the plot, or events, of this story in five or six sentences.
SA
PL
M
Early in the story, the characters mention “a second Cain” and “a second Abel.” Who are
Cain and Abel in this story? If you do not know, look up Cain and Abel in an encyclopedia
or on the Internet.
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 9-3
When the author mentions people from outside the story, it is called an allusion. That
means just that he or she is mentioning something that can be related to the story. Authors
use allusions to make their stories have richer or deeper meaning.
How do the allusions to Cain and Abel tie in to the story?
SA
PL
M
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 9-4
Another technique authors use is something called foreshadowing. Foreshadowing hints
at what is to come later in the story. When the townspeople are searching for Fortune,
London states, “In fact, little attention was given to Uri Bram’s cabin, for it was the last
place under the sun to expect to find the murderer of John Randolph.” Also in the story,
there is a description of Uri’s physical appearance. How does the above quotation and the
description of Uri foreshadow future events?
SA
PL
M
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 9-5
The setting of a story is where and when it takes place. What is the setting of Which Make
Men Remember?
SA
PL
M
The place is fairly easy to determine. What clues are there to help you pinpoint the time in
which the story is set?
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 10-1
Lesson 10
Creating a Haunted Experience
This Lesson will provide you with an opportunity to be really creative and have fun at the
same time! Your imagination and your powers of description will be called into play. Get
ready to use them!
You and four family members have been offered $1,000,000.00 to stay in a haunted castle
for one night. You will be equipped with only a flashlight and a video camera. Think very
carefully about the task at hand. Which family members would you take and why?
Fill in the chart below with the information it asks for.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 10-2
Now that you have decided which family members to take with you, think about what the
inside of the castle may be like. Think of details that would appeal to the senses of smell,
sight, and sound. Think of what thoughts and emotions you may feel.
Look at the chart below and fill-in the information.
SA
PL
M
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 10-3
Now that you have completed the chart, conduct an Internet search for haunted castles in
England. This may give you more information to add to your chart.
Now that you have thought about what the haunted castle would be like, write a fictional
story about your Million Dollar night in the haunted castle.
Your story should be one to two pages in length and should make the reader feel like he
or she was in the haunted castle with you.
Here are some questions that should help you develop your story.
tWhat is the name of the castle? Where is it located? Be specific and offer a detail
about the location.
tWhat is the date for your adventure? Maybe it is Halloween!
SA
tWhat is your game plan for staying the entire night in the castle? Will your family
stick together? Will you break up into teams to explore? Will anyone go off
alone?
tWhat does the inside of the castle look like? How many rooms are there? Use the
previous chart to help you find just the right words.
M
tDescribe your night like you are telling it to your best friend right after you arrived
home.
tDid you win the money, or did your family quit before the night was over?
t Focused topic choice
t Use of colorful verbs
PL
You will be graded on the following:
t Flow of the story (Beginning, Middle, End)
t Good luck and be creative!
E
t Using at least two details that appeal to each of the senses of smell, sound and
sight
Lesson Wrap-Up: This assignment really lets your imagination run free. Hopefully, you’re
getting the idea that narrative writing can be FUN!
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-1
Lesson 11
The Monkey’s Paw
by W. W. Jacobs
In this Lesson, you will be reading a well known short story, The Monkey’s Paw, which was
originally printed in Jacobs’ 1902 collection of short stories titled The Lady of the Barge.
The Monkey’s Paw is considered to be one Jacobs’ most popular works. It has been adapted
for film and screen several times.
The Monkey’s Paw is a suspenseful piece in which the reader is left on the edge of his seat
at the end of each section. Suspense in literature often makes the reader feel tension and
excitement as he reads. Authors create suspense by enticing the reader to question in their
minds about what may happen.
SA
Before you begin reading, however, read the following mini biography of its author, W. W.
Jacobs.
M
W.W. Jacobs
PL
William Wymark Jacobs was born in Wapping, London, England in 1863. He attended
private school in London. He later attended Birkbeck College. His career as a clerk in the
civil service began in 1879. Jacobs worked at the Post Office Savings Bank. His first story
was published in 1885.
E
Although Jacobs was most famous for writing stories like The Monkey’s Paw, most of
his work was in the humorous vein. Many of Jacobs’ stories had surprising endings, or
cliffhanging endings. His readers were often stunned to the point where they had to read
more of his works.
Begin reading The Monkey’s Paw by W.W. Jacobs. When you are finished with
today’s reading, complete the Reading Comprehension Questions.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-2
Reading Comprehension Questions
How did the Sergeant-Major acquire the Monkey’s Paw?
What are Mr. White and his son doing before their guest arrives?
SA
PL
M
Why won’t the Sergeant Major sell the Monkey’s Paw?
E
Why did the Fakir put a curse on the Monkey’s Paw?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-3
What was the fate of the first man who made a wish on the paw?
What is the White’s first wish?
SA
PL
M
Make a prediction: What is the outcome of the wish going to be?
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-4
The Monkey’s Paw
by W. W. Jacobs
Part I
Without, the night was cold and wet, but in the small parlor of Laburnam Villa the blinds were
drawn and the fire burned brightly. Father and son were at chess, the former, who possessed ideas
about the game involving radical changes, putting his king into such sharp and unnecessary perils
that it even provoked comment from the white-haired old lady knitting placidly by the fire.
“Hark at the wind,” said Mr. White, who, having seen a fatal mistake after it was too late, was
amiably desirous of preventing his son from seeing it.
SA
“I’m listening,” said the latter, grimly surveying the board as he stretched out his hand.
M
“Check.”
“Mate,” replied the son.
PL
“I should hardly think that he’d come to-night,” said his father, with his hand poised over the
board.
E
“That’s the worst of living so far out,” bawled Mr. White, with sudden and unlooked-for violence;
“of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway’s a bog, and the
road’s a torrent. I don’t know what people are thinking about. I suppose because only two houses
in the road are let, they think it doesn’t matter.”
“Never mind, dear,” said his wife, soothingly; “perhaps you’ll win the next one.”
Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son.
The words died away on his lips, and he hid a guilty grin in his thin grey beard.
“There he is,” said Herbert White, as the gate banged to loudly and heavy footsteps came toward
the door.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-5
The old man rose with hospitable haste, and opening the door, was heard condoling with the
new arrival. The new arrival also condoled with himself, so that Mrs. White said, “Tut, tut!” and
coughed gently as her husband entered the room, followed by a tall, burly man, beady of eye and
rubicund of visage.
“Sergeant-Major Morris,” he said, introducing him.
The sergeant-major shook hands, and taking the proffered seat by the fire, watched contentedly
while his host got out whiskey and tumblers and stood a small copper kettle on the fire.
SA
At the third glass his eyes got brighter, and he began to talk, the little family circle regarding with
eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and
spoke of wild scenes and doughty deeds; of wars and plagues and strange peoples.
“Twenty-one years of it,” said Mr. White, nodding at his wife and son. “When he went away he was
a slip of a youth in the warehouse. Now look at him.”
M
“He don’t look to have taken much harm,” said Mrs. White, politely.
PL
“I’d like to go to India myself,” said the old man, “just to look round a bit, you know.”
“Better where you are,” said the sergeant-major, shaking his head. He put down the empty glass,
and sighing softly, shook it again.
E
“I should like to see those old temples and fakirs and jugglers,” said the old man. “What was that
you started telling me the other day about a monkey’s paw or something, Morris?”
“Nothing,” said the soldier, hastily. “Leastways nothing worth hearing.”
“Monkey’s paw?” said Mrs. White, curiously.
“Well, it’s just a bit of what you might call magic, perhaps,” said the sergeant-major, offhandedly.
His three listeners leaned forward eagerly. The visitor absent-mindedly put his empty glass to his
lips and then set it down again. His host filled it for him.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-6
“To look at,” said the sergeant-major, fumbling in his pocket, “it’s just an ordinary little paw, dried
to a mummy.”
He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but
her son, taking it, examined it curiously.
“And what is there special about it?” inquired Mr. White as he took it from his son, and having
examined it, placed it upon the table.
“It had a spell put on it by an old fakir,” said the sergeant-major, “a very holy man. He wanted to
show that fate ruled people’s lives, and that those who interfered with it did so to their sorrow. He
put a spell on it so that three separate men could each have three wishes from it.”
SA
His manner was so impressive that his hearers were conscious that their light laughter jarred
somewhat.
M
“Well, why don’t you have three, sir?” said Herbert White, cleverly.
PL
The soldier regarded him in the way that middle age is wont to regard presumptuous youth. “I
have,” he said, quietly, and his blotchy face whitened.
“And did you really have the three wishes granted?” asked Mrs. White.
E
“I did,” said the sergeant-major, and his glass tapped against his strong teeth.
“And has anybody else wished?” persisted the old lady.
“The first man had his three wishes. Yes,” was the reply; “I don’t know what the first two were, but
the third was for death. That’s how I got the paw.”
His tones were so grave that a hush fell upon the group.
“If you’ve had your three wishes, it’s no good to you now, then, Morris,” said the old man at last.
“What do you keep it for?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-7
The soldier shook his head. “Fancy, I suppose,” he said, slowly. “I did have some idea of selling
it, but I don’t think I will. It has caused enough mischief already. Besides, people won’t buy. They
think it’s a fairy tale; some of them, and those who do think anything of it want to try it first and
pay me afterward.”
“If you could have another three wishes,” said the old man, eyeing him keenly, “would you have
them?”
“I don’t know,” said the other. “I don’t know.”
He took the paw, and dangling it between his forefinger and thumb, suddenly threw it upon the
fire. White, with a slight cry, stooped down and snatched it off.
SA
“Better let it burn,” said the soldier, solemnly.
“If you don’t want it, Morris,” said the other, “give it to me.”
M
PL
“I won’t,” said his friend, doggedly. “I threw it on the fire. If you keep it, don’t blame me for what
happens. Pitch it on the fire again like a sensible man.”
The other shook his head and examined his new possession closely. “How do you do it?” he
inquired.
E
“Hold it up in your right hand and wish aloud,” said the sergeant-major, “but I warn you of the
consequences.”
“Sounds like the Arabian Nights,” said Mrs. White, as she rose and began to set the supper. “Don’t
you think you might wish for four pairs of hands for me?”
Her husband drew the talisman from pocket, and then all three burst into laughter as the
sergeant-major, with a look of alarm on his face, caught him by the arm.
“If you must wish,” he said, gruffly, “wish for something sensible.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-8
Mr. White dropped it back in his pocket, and placing chairs, motioned his friend to the table. In
the business of supper the talisman was partly forgotten, and afterward the three sat listening in
an enthralled fashion to a second installment of the soldier’s adventures in India.
“If the tale about the monkey’s paw is not more truthful than those he has been telling us,” said
Herbert, as the door closed behind their guest, just in time for him to catch the last train, “we
shan’t make much out of it.”
“Did you give him anything for it, father?” inquired Mrs. White, regarding her husband closely.
“A trifle,” said he, coloring slightly. “He didn’t want it, but I made him take it. And he pressed me
again to throw it away.”
SA
“Likely,” said Herbert, with pretended horror. “Why, we’re going to be rich, and famous and happy.
Wish to be an emperor, father, to begin with; then you can’t be henpecked.”
He darted round the table, pursued by the maligned Mrs. White armed with an antimacassar.
M
PL
Mr. White took the paw from his pocket and eyed it dubiously. “I don’t know what to wish for,
and that’s a fact,” he said, slowly. “It seems to me I’ve got all I want.”
“If you only cleared the house, you’d be quite happy, wouldn’t you?” said Herbert, with his hand on
his shoulder. “Well, wish for two hundred pounds, then; that ‘ll just do it.”
E
His father, smiling shamefacedly at his own credulity, held up the talisman, as his son, with a
solemn face, somewhat marred by a wink at his mother, sat down at the piano and struck a few
impressive chords.
“I wish for two hundred pounds,” said the old man distinctly.
A fine crash from the piano greeted the words, interrupted by a shuddering cry from the old man.
His wife and son ran toward him.
“It moved,” he cried, with a glance of disgust at the object as it lay on the floor.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 11-9
“As I wished, it twisted in my hand like a snake.”
“Well, I don’t see the money,” said his son as he picked it up and placed it on the table, “and I bet I
never shall.”
“It must have been your fancy, father,” said his wife, regarding him anxiously.
He shook his head. “Never mind, though; there’s no harm done, but it gave me a shock all the
same.”
SA
They sat down by the fire again while the two men finished their pipes. Outside, the wind was
higher than ever, and the old man started nervously at the sound of a door banging upstairs. A
silence unusual and depressing settled upon all three, which lasted until the old couple rose to
retire for the night.
PL
M
“I expect you’ll find the cash tied up in a big bag in the middle of your bed,” said Herbert, as he
bade them good-night, “and something horrible squatting up on top of the wardrobe watching
you as you pocket your ill-gotten gains.”
He sat alone in the darkness, gazing at the dying fire, and seeing faces in it. The last face was so
horrible and so simian that he gazed at it in amazement.’ It got so vivid that, with a little uneasy
laugh, he felt on the table for a glass containing a little water to throw over it. His hand grasped the
monkey’s paw, and with a little shiver he wiped his hand on his coat and went up to bed.
E
STOP READING FOR THIS LESSON!
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 12-1
Lesson 12
The Monkey’s Paw
by W. W. Jacobs
You will continue reading The Monkey’s Paw. Before or after you finish reading, continue
recording the Vocabulary words using the Cornell style and use each word correctly in an
original sentence.
When you are finished reading for the day, answer the Reading Comprehension Questions.
SA
Lesson Wrap-Up: A family tragedy followed a wish made light heartedly. Can you think
of a time when you or someone you know made a wish or did something without thinking
of the consequences and something bad was the result? That is what the author wants
you to consider. Jacobs was hoping people would think before they casually set things in
motion which were harmful.
Reading Comprehension Questions
M
What happened to Herbert at work?
PL
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 12-2
How is the Whites’ first wish not what they expected?
How does Maw and Meggins compensate the Whites for their loss?
SA
PL
M
There are still two more wishes. Make a prediction as to how the Whites will use them.
E
If you were in the Whites’s shoes, what would you do?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 12-3
The Monkey’s Paw
by W. W. Jacobs
Part II
In the brightness of the wintry sun next morning as it streamed over the breakfast table he
laughed at his fears. There was an air of prosaic wholesomeness about the room which it had
lacked on the previous night, and the dirty, shriveled little paw was pitched on the sideboard with
a carelessness which betokened no great belief in its virtues.
SA
“I suppose all old soldiers are the same,” said Mrs. White. “The idea of our listening to such
nonsense! How could wishes be granted in these days? And if they could, how could two hundred
pounds hurt you, father?”
“Might drop on his head from the sky,” said the frivolous Herbert.
M
“Morris said the things happened so naturally,” said’ his father, “that you might if you so wished
attribute it to coincidence.”
PL
“Well, don’t break into the money before I come back,” said Herbert as he rose from the table. “I’m
afraid it’ll turn you into a mean, avaricious man, and we shall have to disown you.”
E
His mother laughed, and following him to the door, watched him down the road; and returning
to the breakfast table, was very happy at the expense of her husband’s credulity. All of which did
not prevent her from scurrying to the door at the postman’s knock, nor prevent her from referring
somewhat shortly to retired sergeant-majors of bibulous habits when she found that the post
brought a tailor’s bill.
“Herbert will have some more of his funny remarks, I expect, when he comes home,” she said, as
they sat at dinner.
“I dare say,” said Mr. White, pouring himself out some beer; “but for all that, the thing moved in
my hand; that I’ll swear to.”
“You thought it did,” said the old lady soothingly.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 12-4
“I say it did,” replied the other. “There was no thought about it; I had just—- What’s the matter?”
His wife made no reply. She was watching the mysterious movements of a man outside, who,
peering in an undecided fashion at the house, appeared to be trying to make up his mind to
enter. In mental connection with the two hundred pounds, she noticed that the stranger was well
dressed, and wore a silk hat of glossy newness. Three times he paused at the gate, and then walked
on again. The fourth time he stood with his hand upon it, and then with sudden resolution flung
it open and walked up the path. Mrs. White at the same moment placed her hands behind her,
and hurriedly unfastening the strings of her apron, put that useful article of apparel beneath the
cushion of her chair.
SA
She brought the stranger, who seemed ill at ease, into the room. He gazed at her furtively, and
listened in a preoccupied fashion as the old lady apologized for the appearance of the room,
and her husband’s coat, a garment which he usually reserved for the garden. She then waited as
patiently as her gender would permit, for him to broach his business, but he was at first strangely
silent.
M
“I—was asked to call,” he said at last, and stooped and picked a piece of cotton from his trousers.
“I come from ‘Maw and Meggins.’”
PL
The old lady started. “Is anything the matter?” she asked, breathlessly. “Has anything happened to
Herbert? What is it? What is it?”
Her husband interposed. “There, there, mother,” he said, hastily. “Sit down, and don’t jump to
conclusions. You’ve not brought bad news, I’m sure, sir;” and he eyed the other wistfully.
E
“I’m sorry—” began the visitor.
“Is he hurt?” demanded the mother, wildly.
The visitor bowed in assent. “Badly hurt,” he said, quietly, “but he is not in any pain.”
“Oh, thank God!” said the old woman, clasping her hands. “Thank God for that! Thank—”
She broke off suddenly as the sinister meaning of the assurance dawned upon her and she saw the
awful confirmation of her fears in the other’s perverted face. She caught her breath, and turning to
her slower-witted husband, laid her trembling old hand upon his. There was a long silence.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 12-5
“He was caught in the machinery,” said the visitor at length in a low voice.
“Caught in the machinery,” repeated Mr. White, in a dazed fashion, “yes.”
He sat staring blankly out at the window, and taking his wife’s hand between his own, pressed it as
he had been wont to do in their old courting-days nearly forty years before.
“He was the only one left to us,” he said, turning gently to the visitor. “It is hard.”
SA
The other coughed, and rising, walked slowly to the window. “The firm wished me to convey their
sincere sympathy with you in your great loss,” he said, without looking round. “I beg that you will
understand I am only their servant and merely obeying orders.”
There was no reply; the old woman’s face was white, her eyes staring, and her breath inaudible;
on the husband’s face was a look such as his friend the sergeant might have carried into his first
action.
M
PL
“I was to say that Maw and Meggins disclaim all responsibility,” continued the other. “They admit
no liability at all, but in consideration of your son’s services, they wish to present you with a
certain sum as compensation.”
“Two hundred pounds,” was the answer.
E
Mr. White dropped his wife’s hand, and rising to his feet, gazed with a look of horror at his visitor.
His dry lips shaped the words, “How much?”
Unconscious of his wife’s shriek, the old man smiled faintly, put out his hands like a sightless man,
and dropped, a senseless heap, to the floor.
Stop Reading for Today.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-1
Lesson 13
The Monkey’s Paw
by W. W. Jacobs
Continue reading Part Three of The Monkey’s Paw.
When you are finished, complete the Reading Comprehension Questions and the Making
Connection to the Story Worksheet.
Lesson Wrap-Up: This story not only has great literary elements, but it leaves the reader
wondering what really happened. What do you think? Was it Herbert at the door? Only
the author truly knows.
SA
Reading Comprehension Questions:
What does Mrs. White want to use the second wish for?
PL
M
E
Make a prediction: If Mrs. White gets her wish, what will Herbert be like?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-2
Mr. White is the last one holding the Monkey’s Paw as they hear knocking on the door.
What is his last wish?
SA
Making Connections with the Story
Foreshadowing: After the sergeant-major arrives, Herbert is watching the fire and he sees a
“monkey-like” face looking back at him. How could this be an example of foreshadowing?
PL
M
E
Setting: The opening of the story is set on a cold, wet night, but inside the house, it is
warm and cozy. How does this setting set the mood for the story?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-3
Evidence: The fakir wanted to prove the point that “fate ruled people’s lives and those
who interfered with it did so to their sorrow.” Using examples from this story to
support your answer, was the fakir correct?
SA
M
PL
Opinion: After Mrs. White made the second wish, do you think Herbert was really at the
door knocking, or was it just a coincidence? Explain your answer.
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-4
The Monkey’s Paw
By W.W. Jacobs
Part III
In the huge new cemetery, some two miles distant, the old people buried their dead, and came
back to a house steeped in shadow and silence. It was all over so quickly that at first they could
hardly realize it, and remained in a state of expectation as though of something else to happen —
something else which was to lighten this load, too heavy for old hearts to bear.
SA
But the days passed, and expectation gave place to resignation—the hopeless resignation of the
old, sometimes miscalled apathy. Sometimes they hardly exchanged a word, for now they had
nothing to talk about, and their days were long to weariness.
M
It was about a week after that the old man, waking suddenly in the night, stretched out his hand
and found himself alone. The room was in darkness, and the sound of subdued weeping came
from the window. He raised himself in bed and listened.
“Come back,” he said, tenderly. “You will be cold.”
PL
“It is colder for my son,” said the old woman, and wept afresh.
E
The sound of her sobs died away on his ears. The bed was warm, and his eyes heavy with sleep. He
dozed fitfully, and then slept until a sudden wild cry from his wife awoke him with a start.
“The paw!” she cried wildly. “The monkey’s paw!”
He started up in alarm. “Where? Where is it? What’s the matter?”
She came stumbling across the room toward him. “I want it,” she said, quietly. “You’ve not
destroyed it?”
“It’s in the parlor, on the bracket,” he replied, marveling. “Why?”
She cried and laughed together, and bending over, kissed his cheek.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-5
“I only just thought of it,” she said, hysterically. “Why didn’t I think of it before? Why didn’t you
think of it?”
“Think of what?” he questioned.
“The other two wishes,” she replied, rapidly.
“We’ve only had one.”
“Was not that enough?” he demanded, fiercely.
SA
“No,” she cried, triumphantly; “we’ll have one more. Go down and get it quickly, and wish our boy
alive again.”
M
The man sat up in bed and flung the bedclothes from his quaking limbs. “Good God, you are
mad!” he cried, aghast.
“Get it,” she panted; “get it quickly, and wish—Oh, my boy, my boy!”
PL
Her husband struck a match and lit the candle. “Get back to bed,” he said, unsteadily. “You don’t
know what you are saying.”
E
“We had the first wish granted,” said the old woman, feverishly; “why not the second?”
“A coincidence,” stammered the old man.
“Go and get it and wish,” cried his wife, quivering with excitement.
The old man turned and regarded her, and his voice shook. “He has been dead ten days, and
besides he—I would not tell you else, but—I could only recognize him by his clothing. If he was
too terrible for you to see then, how now?”
“Bring him back,” cried the old woman, and dragged him toward the door. “Do you think I fear
the child I have nursed?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-6
He went down in the darkness, and felt his way to the parlor, and then to the mantelpiece. The
talisman was in its place, and a horrible fear that the unspoken wish might bring his mutilated
son before him ere he could escape from the room seized upon him, and he caught his breath
as he found that he had lost the direction of the door. His brow cold with sweat, he felt his way
round the table, and groped along the wall until he found himself in the small passage with the
unwholesome thing in his hand.
Even his wife’s face seemed changed as he entered the room. It was white and expectant, and to his
fears seemed to have an unnatural look upon it. He was afraid of her.
“Wish!” she cried, in a strong voice.
“It is foolish and wicked,” he faltered.
SA
“Wish!” repeated his wife.
He raised his hand. “I wish my son alive again.”
M
The talisman fell to the floor, and he regarded it fearfully. Then he sank trembling into a chair as
the old woman, with burning eyes, walked to the window and raised the blind.
PL
E
He sat until he was chilled with the cold, glancing occasionally at the figure of the old woman
peering through the window. The candle-end, which had burned below the rim of the china
candlestick, was throwing pulsating shadows on the ceiling and walls, until, with a flicker larger
than the rest, it expired. The old man, with an unspeakable sense of relief at the failure of the
talisman, crept back to his bed, and a minute or two afterward the old woman came silently and
apathetically beside him.
Neither spoke, but lay silently listening to the ticking of the clock. A stair creaked, and a squeaky
mouse scurried noisily through the wall. The darkness was oppressive, and after lying for some
time screwing up his courage, he took the box of matches, and striking one, went downstairs for a
candle.
At the foot of the stairs the match went out, and he paused to strike another; and at the same
moment a knock, so quiet and stealthy as to be scarcely audible, sounded on the front door.
The matches fell from his hand and spilled in the passage. He stood motionless, his breath
suspended until the knock was repeated. Then he turned and fled swiftly back to his room, and
closed the door behind him. A third knock sounded through the house.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 13-7
“What’s that?” cried the old woman, starting up.
“A rat,” said the old man in shaking tones—”a rat. It passed me on the stairs.”
His wife sat up in bed listening. A loud knock resounded through the house.
“It’s Herbert!” she screamed. “It’s Herbert!”
She ran to the door, but her husband was before her, and catching her by the arm, held her tightly.
“What are you going to do?” he whispered hoarsely.
SA
“It’s my boy; it’s Herbert!” she cried, struggling mechanically. “I forgot it was two miles away. What
are you holding me for? Let go. I must open the door.
“For God’s sake don’t let it in,” cried the old man, trembling.
M
“You’re afraid of your own son,” she cried, struggling. “Let me go. I’m coming, Herbert; I’m coming.”
PL
E
There was another knock, and another. The old woman with a sudden wrench broke free and
ran from the room. Her husband followed to the landing, and called after her appealingly as she
hurried downstairs. He heard the chain rattle back and the bottom bolt drawn slowly and stiffly
from the socket. Then the old woman’s voice, strained and panting.
“The bolt,” she cried, loudly. “Come down. I can’t reach it.”
But her husband was on his hands and knees groping wildly on the floor in search of the paw. If
he could only find it before the thing outside got in. A perfect fusillade of knocks reverberated
through the house, and he heard the scraping of a chair as his wife put it down in the passage
against the door. He heard the creaking of the bolt as it came slowly back, and at the same moment
he found the monkey’s paw, and frantically breathed his third and last wish.
The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chair
drawn back, and the door opened. A cold wind rushed up the staircase, and a long loud wail of
disappointment and misery from his wife gave him courage to run down to her side, and then to
the gate beyond. The street lamp flickering opposite shone on a quiet and deserted road.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 14-1
Lesson 14
The Monkey’s Paw
By W. W. Jacobs
Descriptive Writing
Your assignment for this Lesson will be to create a composition based on the story you just
read, The Monkey’s Paw. This will be your opportunity to be the creator. You can create a
new ending for the story or consider what three wishes you would ask to have filled if that
were possible. Both options are intriguing.
Choose one of the following:
SA
Change the third wish at the end of the story. Write a new ending and new outcome. Make
sure you use strong descriptive words.
-OR-
If you had three wishes, what would you wish for? Why? How could the outcomes of your
wishes be negative?
M
You will be graded with the Descriptive Writing Rubric.
Student Self-Assessment Rubric for Descriptive Writing
PL
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 14-2
Before you begin writing, spend some time planning. Use a cluster map to generate ideas.
SA
PL
M
Once you have made your graphic organizer, begin analyzing the important questions. For
example, if you wanted a chance at the three wishes, what exactly would you do, and why?
Make sure to justify your answers with REAL evidence from your life, or something you
have read or watched.
Your composition should be at least four paragraphs in length. Turn in a rough draft and
a final copy to your teacher. The final copy should show evidence of editing and revisions.
Lesson Wrap-Up: Read your writing aloud to yourself. Can you mentally see the story?
Do your words paint a picture? If so, then you are on the right track. If not, keep trying!
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 15-1
Lesson 15
“Then I Took a Potato Chip and...”
Descriptive Writing
Today you are going to put your best foot forward and write a descriptive story with the
provided prompt. Remember to think about the five senses as you write.
Here is your prompt: Imagine that you are going for a walk when suddenly you fall into a mine shaft. The only items you have with you are a bag of potato chips, a flashlight
key chain, a toothbrush and a yo-yo.
SA
Here are some things to think about: What are you going to do to get out? What
kinds of things are around you? How does it look, feel, smell, and sound? How did you
get there in the first place? Why do you only have those items with you?
Your story should contain a solution to getting out of the mineshaft and at least one detail
appealing to each of the five senses. You have to depend on yourself to get out. Your story
should be a minimum of two pages long. Good luck and be creative.
M
Begin your story with this sentence beginning: Then I took a potato chip and…..
PL
Lesson Wrap-Up: You did it! You got out of the mine! As you move on through this
course, you will find that many authors use sensory details to draw their readers into the
story. Some are so masterful, that you almost feel like you are in the story too!
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 16-1
Lesson 16
The Adventure of the Dying Detective
By Sir Arthur Conan Doyle
The Art of Mystery
Have you ever wondered what it is about a mystery that captures your attention? Literary
elements put together in a masterful order revealing clues in a timely, purposeful manner
are mind grabbers. In a mystery, you often get foreshadowing, suspense, characterization,
setting and conflict. You have already read about foreshadowing and setting earlier in this
course.
What follows is information that will increase your appreciation of the mystery genre. Take
notes on the following paragraphs using the Cornell notes.
SA
Suspense is the feeling of anxiety or uncertainty that a reader feels as the story progresses.
Making the readers question events in their minds creates suspense.
PL
M
Conflict is a struggle between two forces, or sometimes a group of forces. Conflict is one of
the most important parts of a story. It is the driving force behind the author’s purpose for
writing. There are two main types of conflict: internal and external. Internal conflict exists
when the main character is struggling with himself or herself. External conflict exists when
the main character is struggling with another character, nature, or some outside force. The
conflict is the heart of the story. It is what captivates the readers and entices them to read
on.
E
Characterization is the act of creating characters by developing their unique traits. An
author develops certain characters for different purposes. Some of the traits that are
developed in characterization are speech, actions, appearance, thoughts, and others (what
others think about them).
The writer will begin by introducing the problem or the conflict. This can be a missing item,
an unknown cause of death, or another element that would leave clues that need to be
solved.
The setting of the story is one of the most important elements. The setting can lead the
reader to draw conclusions as to what really happened. It can also set the tone and mood
for the story.
Character development is central to the story’s effect on the reader. A character who is well
developed will cause the reader to make a personal connection. Good characterization can
get the reader to take sides.
A mystery story is packed full of clues, and pieces of a large puzzle that need to be solved.
It is no wonder that fans of suspense and conflict love to read mysteries.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 16-2
Now you know some of the elements common to mystery stories. Before we move forward,
take some time to review some books, stories, or movies you have read or seen.
In a few sentences, tell your teacher about the element of suspense in the mystery you
have in mind. This can be done orally or in writing. Think of a story, either in a book or
movie, where there was some sort of mystery.
With that mystery in mind, answer the following questions: With what was the
main character struggling? Was the conflict within himself or herself, or was the character
struggling with another person or nature?
Describe the main character. Be specific. The reader or listener should be able to picture
this character clearly. Include details about how the character looks and sounds, how he or
she dresses and speaks, and little habits or characteristics the character possesses. Then tell
how the character changed during the course of the book or movie.
SA
In this Lesson, you will read a short story written by one of the most famous mystery
writers of all time, Sir Arthur Conan Doyle. Following is a short biography of this famous
man of letters. Again, take notes on the information using the Cornell notes.
M
Sir Arthur Conan Doyle
PL
Sir Arthur Conan Doyle was born in 1859 in Edinburgh, Scotland. He is best known for his
creation of the master sleuth Sherlock Holmes and his ever-faithful companion Mr. Watson. He
also wrote science fiction, historical fiction, and political treatises.
E
Sir Arthur Conan Doyle attended a Roman Catholic preparatory school as a boy and later
attended Stonyhurst College. He studied medicine at the University of Edinburgh and became a
doctor. Conan Doyle was trained in the medical specialty of ophthalmology in Austria.
Doyle published his first story before he was 20 years old. He was still a student at the time. In
1882, he set up a practice in Portsmouth, England. Doyle’s practice was slow in the beginning, so
while he was waiting for patients, he wrote stories to fill the time. He achieved great success in
the literary world. Conan Doyle had a very active and creative mind and writing was his creative
outlet.
Sir Arthur Conan Doyle married twice. His first wife, Louisa, died of tuberculosis in 1906. A year
later he married Jean Leckie. Doyle was the father of five children; two were the children of his
first wife and three were the children of his second wife.
Later in his life, Doyle became interested in spiritualism and became friends with the American
escape artist Harry Houdini. Doyle died of a heart attack in 1930, and is buried in New Forest,
Hampshire, England.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 16-3
Before you begin Doyle’s The Adventure of the Dying Detective, look up all of the
Vocabulary words in the dictionary. Using Cornell notes, write the words and their
definitions in your notebook. Then use each word correctly in an original sentence.
The Vocabulary words for The Adventure of the Dying Detective are: Eccentricity, Malodorous, Chivalrous, Contagious, Repulsed, Mediocre, Pathological, Perambulation,
Prolific, Demure, Malicious, Jaunty, Concealment, Invalid, Dissimulation, Extraneous ,
Pretense
Lesson Wrap-Up: Preparing to read a new story can involve extra work. The time you
spend defining words before reading, the less time you will spend during the reading
trying to figure out what the text means. Doing the Vocabulary work up front saves time
in the long run. It helps you to understand what you are reading. Likewise, learning about
the genre and its characteristics helps you to be on the lookout for story developments and
increases your pleasure in reading.
SA
PL
M
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-1
Lessons 17 and 18
The Adventure of the Dying Detective
by Sir Arthur Conan Doyle
Beginning in Lesson 17, you will read Arthur Conan Doyle’s The Adventure of the Dying
Detective. You will be reading this in two sections as directed by your teacher. When you
finish with each section, answer the Reading Comprehension Question for Thai part. Also,
you will be asked to create a summary, in approximately 30 words, of what you have read.
Even though the story was written decades ago, it is still fresh and engaging today. Enjoy
your reading.
Reading Comprehension Questions – Lessons 17-18 Part 1
SA
Answer the following questions using complete sentences when directed to stop
reading.
Why is Holmes a trial to his landlady?
PL
M
E
What were Holmes’s symptoms as reported to Watson by Mrs. Hudson?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-2
How did Holmes become sick?
Why did Holmes tell Watson to keep his distance?
SA
M
How did Holmes hurt Watson’s feelings?
PL
E
What happened when Watson turned to leave the room to get Dr. Ainstree?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-3
Identify the conflict in the story.
Make a prediction about what will happen in the next part of the story.
SA
PL
M
E
Summarize the story’s plot to the point where you stopped reading. Do so in approximately
30 words.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-4
Draw a picture of one scene in the story. Create a caption for the picture. A caption is
usually one, two, or three sentences long and tells what is happening in the picture. Color
In order to draw on this document goto--> Tools in the
the picture.
Menu Bar--> Click Comments & Markup---> Click Show
Comments & Markups Toolbar at the bottom of list.
SA
PL
M
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-5
The Adventure of the Dying Detective
by Sir Arthur Conan Doyle
Mrs. Hudson, the landlady of Sherlock Holmes, was a long suffering woman. Not only was her
first-floor flat invaded at all hours by throngs of singular and often undesirable characters but her
remarkable lodger showed an eccentricity and irregularity in his life which must have sorely tried
her patience. His incredible untidiness, his addiction to music at strange hours, his occasional
revolver practice within doors, his weird and often malodorous scientific experiments, and the
atmosphere of violence and danger which hung around him made him the very worst tenant in
London. On the other hand, his payments were princely. I have no doubt that the house might
have been purchased at the price which Holmes paid for his rooms during the years that I was
with him.
SA
M
The landlady stood in the deepest awe of him and never dared to interfere with him, however
outrageous his proceedings might seem. She was fond of him, too, for he had a remarkable
gentleness and courtesy in his dealings with women. He disliked and distrusted [women], but
he was always a chivalrous opponent. Knowing how genuine was her regard for him, I listened
earnestly to her story when she came to my rooms in the second year of my married life and told
me of the sad condition to which my poor friend was reduced.
PL
“He’s dying, Dr. Watson,” said she. “For three days he has been sinking, and I doubt if he will last
the day. He would not let me get a doctor. This morning when I saw his bones sticking out of
his face and his great bright eyes looking at me I could stand no more of it. ‘With your leave or
without it, Mr. Holmes, I am going for a doctor this very hour,’ said I. ‘Let it be Watson, then,’ said
he. I wouldn’t waste an hour in coming to him, sir, or you may not see him alive.”
E
I was horrified for I had heard nothing of his illness. I need not say that I rushed for my coat and
my hat. As we drove back I asked for the details.
“There is little I can tell you, sir. He has been working at a case down at Rotherhithe, in an alley
near the river, and he has brought this illness back with him. He took to his bed on Wednesday
afternoon and has never moved since. For these three days neither food nor drink has passed his
lips.”
“Good God! Why did you not call in a doctor?”
“He wouldn’t have it, sir. You know how masterful he is. I didn’t dare to disobey him. But he’s not
long for this world, as you’ll see for yourself the moment that you set eyes on him.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-6
He was indeed a deplorable spectacle. In the dim light of a foggy November day the sick room
was a gloomy spot, but it was that gaunt, wasted face staring at me from the bed which sent a chill
to my heart. His eyes had the brightness of fever, there was a hectic flush upon either cheek, and
dark crusts clung to his lips; the thin hands upon the coverlet twitched incessantly, his voice was
croaking and spasmodic. He lay listlessly as I entered the room, but the sight of me brought a
gleam of recognition to his eyes.
“Well, Watson, we seem to have fallen upon evil days,” said he in a feeble voice, but with something
of his old carelessness of manner.
“My dear fellow!” I cried, approaching him. “Stand back! Stand right back!” said he with the sharp
imperiousness which I had associated only with moments of crisis. “If you approach me, Watson, I
shall order you out of the house.”
SA
“But why?”
“Because it is my desire. Is that not enough?”
M
“I only wished to help,” I explained.
PL
Yes, Mrs. Hudson was right. He was more masterful than ever. It was pitiful, however, to see his
exhaustion.
E
“Exactly! You will help best by doing what you are told.”
“Certainly, Holmes.”
He relaxed the austerity of his manner.
“You are not angry?” he asked, gasping for breath.
Poor devil, how could I be angry when I saw him lying in such a plight before me?
“It’s for your own sake, Watson,” he croaked.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-7
“For MY sake?”
“I know what is the matter with me. It is a coolie disease from Sumatra--a thing that the Dutch
know more about than we, though they have made little of it up to date. One thing only is certain.
It is infallibly deadly, and it is horribly contagious.”
He spoke now with a feverish energy, the long hands twitching and jerking as he motioned me
away.
“Contagious by touch, Watson--that’s it, by touch. Keep your distance and all is well.”
SA
“Good heavens, Holmes! Do you suppose that such a consideration weighs with me of an instant?
It would not affect me in the case of a stranger. Do you imagine it would prevent me from doing
my duty to so old a friend?”
Again I advanced, but he repulsed me with a look of furious anger.
M
“If you will stand there I will talk. If you do not you must leave the room.”
PL
I have so deep a respect for the extraordinary qualities of Holmes that I have always deferred to his
wishes, even when I least understood them. But now all my professional instincts were aroused.
Let him be my master elsewhere, I at least was his in a sick room.
E
“Holmes,” said I, “you are not yourself. A sick man is but a child, and so I will treat you. Whether
you like it or not, I will examine your symptoms and treat you for them.”
He looked at me with venomous eyes.
“If I am to have a doctor whether I will or not, let me at least have someone in whom I have
confidence,” said he.
“Then you have none in me?”
“In your friendship, certainly. But facts are facts, Watson, and, after all, you are only a general
practitioner with very limited experience and mediocre qualifications. It is painful to have to say
these things, but you leave me no choice.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-8
I was bitterly hurt.
“Such a remark is unworthy of you, Holmes. It shows me very clearly the state of your own nerves.
But if you have no confidence in me I would not intrude my services. Let me bring Sir Jasper
Meek or Penrose Fisher, or any of the best men in London. But someone you MUST have, and
that is final. If you think that I am going to stand here and see you die without either helping you
myself or bringing anyone else to help you, then you have mistaken your man.”
“You mean well, Watson,” said the sick man with something between a sob and a groan. “Shall
I demonstrate your own ignorance? What do you know, pray, of Tapanuli fever? What do you
know of the black Formosa corruption?”
SA
“I have never heard of either.”
M
“There are many problems of disease, many strange pathological possibilities, in the East, Watson.”
He paused after each sentence to collect his failing strength. “I have learned so much during
some recent researches which have a medico-criminal aspect. It was in the course of them that I
contracted this complaint. You can do nothing.”
PL
“Possibly not. But I happen to know that Dr. Ainstree, the greatest living authority upon tropical
disease, is now in London. All remonstrance is useless, Holmes, I am going this instant to fetch
him.” I turned resolutely to the door.
E
Never have I had such a shock! In an instant, with a tiger spring, the dying man had intercepted
me. I heard the sharp snap of a twisted key. The next moment he had staggered back to his bed,
exhausted and panting after his one tremendous out flame of energy.
“You won’t take the key from be by force, Watson, I’ve got you, my friend. Here you are, and
here you will stay until I will otherwise. But I’ll humor you.” (All this in little gasps, with terrible
struggles for breath between.) “You’ve only my own good at heart. Of course I know that very
well. You shall have your way, but give me time to get my strength. Not now, Watson, not now. It’s
four o’clock. At six you can go.”
“This is insanity, Holmes.”
“Only two hours, Watson. I promise you will go at six. Are you content to wait?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-9
“I seem to have no choice.”
“None in the world, Watson. Thank you, I need no help in arranging the clothes. You will please
keep your distance. Now, Watson, there is one other condition that I would make. You will seek
help, not from the man you mention, but from the one that I choose.”
“By all means.”
“The first three sensible words that you have uttered since you entered this room, Watson. You will
find some books over there. I am somewhat exhausted; I wonder how a battery feels when it pours
electricity into a non-conductor? At six, Watson, we resume our conversation.”
SA
STOP READING HERE.
Answer Part 1 of the Reading Comprehension Questions and Compose your
Summary.
M
PL
But it was destined to be resumed long before that hour, and in circumstances which gave me
a shock hardly second to that caused by his spring to the door. I had stood for some minutes
looking at the silent figure in the bed. His face was almost covered by the clothes and he appeared
to be asleep. Then, unable to settle down to reading, I walked slowly round the room, examining
the pictures of celebrated criminals with which every wall was adorned. Finally, in my aimless
perambulation, I came to the mantelpiece. A litter of pipes, tobacco-pouches, syringes, penknives,
revolver-cartridges, and other debris was scattered over it. In the midst of these was a small black
and white ivory box with a sliding lid. It was a neat little thing, and I had stretched out my hand to
examine it more closely when --
E
It was a dreadful cry that he gave--a yell which might have been heard down the street. My skin
went cold and my hair bristled at that horrible scream. As I turned I caught a glimpse of a
convulsed face and frantic eyes. I stood paralyzed, with the little box in my hand.
“Put it down! Down, this instant, Watson--this instant, I say!” His head sank back upon the pillow
and he gave a deep sigh of relief as I replaced the box upon the mantelpiece. “I hate to have my
things touched, Watson. You know that I hate it. You fidget me beyond endurance. You, a doctor-you are enough to drive a patient into an asylum. Sit down, man, and let me have my rest!”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-10
The incident left a most unpleasant impression upon my mind. The violent and causeless
excitement, followed by this brutality of speech, so far removed from his usual suavity, showed
me how deep was the disorganization of his mind. Of all ruins, that of a noble mind is the most
deplorable. I sat in silent dejection until the stipulated time had passed. He seemed to have been
watching the clock as well as I, for it was hardly six before he began to talk with the same feverish
animation as before.
“Now, Watson,” said he. “Have you any change in your pocket?”
“Yes.”
“Any silver?”
SA
“A good deal.”
“How many half-crowns?”
PL
M
“I have five.”
“Ah, too few! Too few! How very unfortunate, Watson! However, such as they are you can put
them in your watch pocket. And all the rest of your money in your left trouser pocket. Thank you.
E
It will balance you so much better like that.”
This was raving insanity. He shuddered, and again made a sound between a cough and a sob.
“You will now light the gas, Watson, but you will be very careful that not for one instant shall it
be more than half on. I implore you to be careful, Watson. Thank you, that is excellent. No, you
need not draw the blind. Now you will have the kindness to place some letters and papers upon
this table within my reach. Thank you. Now some of that litter from the mantelpiece. Excellent,
Watson! There is a sugar-tongs there. Kindly raise that small ivory box with its assistance. Place it
here among the papers. Good! You can now go and fetch Mr. Culverton Smith, of 13 Lower Burke
Street.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-11
To tell the truth, my desire to fetch a doctor had somewhat weakened, for poor Holmes was
so obviously delirious that it seemed dangerous to leave him. However, he was as eager now to
consult the person named as he had been obstinate in refusing.
“I never heard the name,” said I.
“Possibly not, my good Watson. It may surprise you to know that the man upon earth who is best
versed in this disease is not a medical man, but a planter. Mr. Culverton Smith is a well-known
resident of Sumatra, now visiting London. An outbreak of the disease upon his plantation, which
was distant from medical aid, caused him to study it himself, with some rather far-reaching
consequences. He is a very methodical person, and I did not desire you to start before six, because
I was well aware that you would not find him in his study. If you could persuade him to come here
and give us the benefit of his unique experience of this disease, the investigation of which has been
his dearest hobby, I cannot doubt that he could help me.”
SA
M
I gave Holmes’s remarks as a consecutive whole and will not attempt to indicate how they were
interrupted by gaspings for breath and those clutchings of his hands which indicated the pain
from which he was suffering. His appearance had changed for the worse during the few hours that
I had been with him. Those hectic spots were more pronounced, the eyes shone more brightly
out of darker hollows, and a cold sweat glimmered upon his brow. He still retained, however, the
jaunty gallantry of his speech. To the last gasp he would always be the master.
E
“My directions for Mr. Culverton Smith.”
PL
“You will tell him exactly how you have left me,” said he. “You will convey the very impression
which is in your own mind—a dying man--a dying and delirious man. Indeed, I cannot think why
the whole bed of the ocean is not one solid mass of oysters, so prolific the creatures seem. Ah, I am
wondering! Strange how the brain controls the brain! What was I saying, Watson?”
“Ah, yes, I remember. My life depends upon it. Plead with him, Watson. There is no good feeling
between us. His nephew, Watson--I had suspicions of foul play and I allowed him to see it. The
boy died horribly. He has a grudge against me. You will soften him, Watson. Beg him, pray him,
get him here by any means. He can save me--only he!”
“I will bring him in a cab, if I have to carry him down to it.”
“You will do nothing of the sort. You will persuade him to come. And then you will return in front
of him. Make any excuse so as not to come with him. Don’t forget, Watson. You won’t fail me. You
never did fail me. No doubt there are natural enemies which limit the increase of the creatures.
You and I, Watson, we have done our part. Shall the world, then, be overrun by oysters? No, no;
horrible! You’ll convey all that is in your mind.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-12
I left him full of the image of this magnificent intellect babbling like a foolish child. He had
handed me the key, and with a happy thought I took it with me lest he should lock himself in. Mrs.
Hudson was waiting, trembling and weeping, in the passage. Behind me as I passed from the flat
I heard Holmes’s high, thin voice in some delirious chant. Below, as I stood whistling for a cab, a
man came on me through the fog.
“How is Mr. Holmes, sir?” he asked.
It was an old acquaintance, Inspector Morton, of Scotland Yard, dressed in unofficial tweeds.
“He is very ill,” I answered.
SA
He looked at me in a most singular fashion. Had it not been too fiendish, I could have imagined
that the gleam of the fanlight showed exultation in his face.
“I heard some rumor of it,” said he.
M
The cab had driven up, and I left him.
PL
Lower Burke Street proved to be a line of fine houses lying in the vague borderland between
Notting Hill and Kensington. The particular one at which my cabman pulled up had an air of
smug and demure respectability in its old-fashioned iron railings, its massive folding-door, and
its shining brasswork. All was in keeping with a solemn butler who appeared framed in the pink
radiance of a tinted electrical light behind him.
E
“Yes, Mr. Culverton Smith is in. Dr. Watson! Very good, sir, I will take up your card.”
My humble name and title did not appear to impress Mr. Culverton Smith. Through the half-open
door I heard a high, petulant, penetrating voice.
“Who is this person? What does he want? Dear me, Staples, how often have I said that I am not to
be disturbed in my hours of study?”
There came a gentle flow of soothing explanation from the butler.
“Well, I won’t see him, Staples. I can’t have my work interrupted like this. I am not at home. Say so.
Tell him to come in the morning if he really must see me.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-13
Again the gentle murmur.
“Well, well, give him that message. He can come in the morning, or he can stay away. My work
must not be hindered.”
I thought of Holmes tossing upon his bed of sickness and counting the minutes, perhaps, until I
could bring help to him. It was not a time to stand upon ceremony. His life depended upon my
promptness. Before the apologetic butler had delivered his message I had pushed past him and was
in the room.
SA
With a shrill cry of anger a man rose from a reclining chair beside the fire. I saw a great yellow
face, coarse-grained and greasy, with heavy, double-chin, and two sullen, menacing gray eyes
which glared at me from under tufted and sandy brows. A high bald head had a small velvet
smoking-cap poised coquettishly upon one side of its pink curve. The skull was of enormous
capacity, and yet as I looked down I saw to my amazement that the figure of the man was
small and frail, twisted in the shoulders and back like one who has suffered from rickets in his
childhood.
M
“What’s this?” he cried in a high, screaming voice. “What is the meaning of this intrusion? Didn’t I
send you word that I would see you to-morrow morning?”
PL
“I am sorry,” said I, “but the matter cannot be delayed. Mr. Sherlock Holmes--”
E
The mention of my friend’s name had an extraordinary effect upon the little man. The look of
anger passed in an instant from his face. His features became tense and alert.
“Have you come from Holmes?” he asked.
“I have just left him.”
“What about Holmes? How is he?”
“He is desperately ill. That is why I have come.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-14
The man motioned me to a chair, and turned to resume his own. As he did so I caught a glimpse
of his face in the mirror over the mantelpiece. I could have sworn that it was set in a malicious and
abominable smile. Yet I persuaded myself that it must have been some nervous contraction which
I had surprised, for he turned to me an instant later with genuine concern upon his features.
“I am sorry to hear this,” said he. “I only know Mr. Holmes through some business dealings which
we have had, but I have every respect for his talents and his character. He is an amateur of crime,
as I am of disease. For him the villain, for me the microbe. There are my prisons,” he continued,
pointing to a row of bottles and jars which stood upon a side table. “Among those gelatin
cultivations some of the very worst offenders in the world are now doing time.”
“It was on account of your special knowledge that Mr. Holmes desired to see you. He has a high
opinion of you and thought that you were the one man in London who could help him.”
SA
The little man started, and the jaunty smoking-cap slid to the floor.
“Why?” he asked. “Why should Mr. Homes think that I could help him in his trouble?”
M
“Because of your knowledge of Eastern diseases.”
PL
“But why should he think that this disease which he has contracted is Eastern?”
E
“Because, in some professional inquiry, he has been working among Chinese sailors down in the
docks.”
Mr. Culverton Smith smiled pleasantly and picked up his smoking-cap.
“Oh, that’s it--is it?” said he. “I trust the matter is not so grave as you suppose. How long has he
been ill?”
“About three days.”
“Is he delirious?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-15
“Occasionally.”
“Tut, tut! This sounds serious. It would be inhuman not to answer his call. I very much resent any
interruption to my work, Dr. Watson, but this case is certainly exceptional. I will come with you at
once.”
I remembered Holmes’s injunction.
“I have another appointment,” said I.
SA
“Very good. I will go alone. I have a note of Mr. Holmes’s address. You can rely upon my being
there within half an hour at most.”
“Well, did you see him, Watson?”
“Yes; he is coming.”
PL
M
It was with a sinking heart that I reentered Holmes’s bedroom. For all that I knew the worst might
have happened in my absence. To my enormous relief, he had improved greatly in the interval. His
appearance was as ghastly as ever, but all trace of delirium had left him and he spoke in a feeble
voice, it is true, but with even more than his usual crispness and lucidity.
E
“Admirable, Watson! Admirable! You are the best of messengers.”
“He wished to return with me.”
“That would never do, Watson. That would be obviously impossible. Did he ask what ailed me?”
“I told him about the Chinese in the East End.”
“Exactly! Well, Watson, you have done all that a good friend could. You can now disappear from
the scene.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-16
“I must wait and hear his opinion, Holmes.”
“Of course you must. But I have reasons to suppose that this opinion would be very much more
frank and valuable if he imagines that we are alone. There is just room behind the head of my bed,
Watson.”
“My dear Holmes!”
SA
“I fear there is no alternative, Watson. The room does not lend itself to concealment, which is
as well, as it is the less likely to arouse suspicion. But just there, Watson, I fancy that it could be
done.” Suddenly he sat up with a rigid intentness upon his haggard face. “There are the wheels,
Watson. Quick, man, if you love me! And don’t budge, whatever happens—whatever happens, do
you hear? Don’t speak! Don’t move! Just listen with all your ears.” Then in an instant his sudden
access of strength departed, and his masterful, purposeful talk droned away into the low, vague
murmurings of a semi-delirious man.
PL
M
From the hiding-place into which I had been so swiftly hustled I heard the footfalls upon the stair,
with the opening and the closing of the bedroom door. Then, to my surprise, there came a long
silence, broken only by the heavy breathings and gaspings of the sick man. I could imagine that
our visitor was standing by the bedside and looking down at the sufferer. At last that strange hush
was broken.
“Holmes!” he cried. “Holmes!” in the insistent tone of one who awakens a sleeper. “Can’t you hear
me, Holmes?” There was a rustling, as if he had shaken the sick man roughly by the shoulder.
E
“Is that you, Mr. Smith?” Holmes whispered. “I hardly dared hope that you would come.”
The other laughed.
“I should imagine not,” he said. “And yet, you see, I am here. Coals of fire, Holmes--coals of fire!”
“It is very good of you--very noble of you. I appreciate your special knowledge.”
Our visitor sniggered.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-17
“You do. You are, fortunately, the only man in London who does. Do you know what is the matter
with you?”
“The same,” said Holmes.
“Ah! You recognize the symptoms?”
“Only too well.”
SA
“Well, I shouldn’t be surprised, Holmes. I shouldn’t be surprised if it WERE the same. A bad
lookout for you if it is. Poor Victor was a dead man on the fourth day--a strong, hearty young
fellow. It was certainly, as you said, very surprising that he should have contracted and out-of-theway Asiatic disease in the heart of London--a disease, too, of which I had made such a very special
study. Singular coincidence, Holmes. Very smart of you to notice it, but rather uncharitable to
suggest that it was cause and effect.”
M
“I knew that you did it.”
PL
“Oh, you did, did you? Well, you couldn’t prove it, anyhow. But what do you think of yourself
spreading reports about me like that, and then crawling to me for help the moment you are in
trouble? What sort of a game is that--eh?”
E
I heard the rasping, labored breathing of the sick man. “Give me the water!” he gasped.
“You’re precious near your end, my friend, but I don’t want you to go till I have had a word with
you. That’s why I give you water. There, don’t slop it about! That’s right. Can you understand what
I say?”
Holmes groaned.
“Do what you can for me. Let bygones be bygones,” he whispered. “I’ll put the words out of my
head--I swear I will. Only cure me, and I’ll forget it.”
“Forget what?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-18
“Well, about Victor Savage’s death. You as good as admitted just now that you had done it. I’ll
forget it.”
“You can forget it or remember it, just as you like. I don’t see you in the witness box. Quite another
shaped box, my good Holmes, I assure you. It matters nothing to me that you should know how
my nephew died. It’s not him we are talking about. It’s you.”
“Yes, yes.”
“The fellow who came for me--I’ve forgotten his name--said that you contracted it down in the
East End among the sailors.”
SA
“I could only account for it so.”
M
“You are proud of your brains, Holmes, are you not? Think yourself smart, don’t you? You came
across someone who was smarter this time. Now cast your mind back, Holmes. Can you think of
no other way you could have got this thing?”
PL
“I can’t think. My mind is gone. For heaven’s sake help me!”
“Yes, I will help you. I’ll help you to understand just where you are and how you got there. I’d like
you to know before you die.”
E
“Give me something to ease my pain.”
“Painful, is it? Yes, the coolies used to do some squealing towards the end. Takes you as cramp, I
fancy.”
“Yes, yes; it is cramp.”
“Well, you can hear what I say, anyhow. Listen now! Can you remember any unusual incident in
your life just about the time your symptoms began?”
“No, no; nothing.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-19
“Think again.”
“I’m too ill to think.”
“Well, then, I’ll help you. Did anything come by post?”
“By post?”
“A box by chance?”
SA
“I’m fainting--I’m gone!”
“Listen, Holmes!” There was a sound as if he was shaking the dying man, and it was all that I
could do to hold myself quiet in my hiding-place. “You must hear me. You SHALL hear me. Do
you remember a box--an ivory box? It came on Wednesday. You opened it--do you remember?”
M
“Yes, yes, I opened it. There was a sharp spring inside it. Some joke--”
PL
“It was no joke, as you will find to your cost. You fool, you would have it and you have got it. Who
asked you to cross my path? If you had left me alone I would not have hurt you.”
E
“I remember,” Holmes gasped. “The spring! It drew blood. This box--this on the table.”
“The very one, by George! And it may as well leave the room in my pocket. There goes your last
shred of evidence. But you have the truth now, Holmes, and you can die with the knowledge that
I killed you. You knew too much of the fate of Victor Savage, so I have sent you to share it. You are
very near your end, Holmes. I will sit here and I will watch you die.”
Holmes’s voice had sunk to an almost inaudible whisper.
“What is that?” said Smith. “Turn up the gas? Ah, the shadows begin to fall, do they? Yes, I will
turn it up, that I may see you the better.” He crossed the room and the light suddenly brightened.
“Is there any other little service that I can do you, my friend?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-20
“A match and a cigarette.”
I nearly called out in my joy and my amazement. He was speaking in his natural voice--a little
weak, perhaps, but the very voice I knew. There was a long pause, and I felt that Culverton Smith
was standing in silent amazement looking down at his companion.
“What’s the meaning of this?” I heard him say at last in a dry, rasping tone.
SA
“The best way of successfully acting a part is to be it,” said Holmes. “I give you my word that for
three days I have tasted neither food nor drink until you were good enough to pour me out that
glass of water. But it is the tobacco which I find most irksome. Ah, here ARE some cigarettes.” I
heard the striking of a match. “That is very much better. Halloa! halloa! Do I hear the step of a
friend?”
There were footfalls outside, the door opened, and Inspector Morton appeared.
M
“All is in order and this is your man,” said Holmes.
PL
The officer gave the usual cautions.
“I arrest you on the charge of the murder of one Victor Savage,” he concluded.
E
“And you might add of the attempted murder of one Sherlock Holmes,” remarked my friend with a
chuckle. “To save an invalid trouble, Inspector, Mr. Culverton Smith was good enough to give our
signal by turning up the gas. By the way, the prisoner has a small box in the right-hand pocket of
his coat which it would be as well to remove. Thank you. I would handle it gingerly if I were you.
Put it down here. It may play its part in the trial.”
There was a sudden rush and a scuffle, followed by the clash of iron and a cry of pain.
“You’ll only get yourself hurt,” said the inspector. “Stand still, will you?” There was the click of the
closing handcuffs.
“A nice trap!” cried the high, snarling voice. “It will bring YOU into the dock, Holmes, not me.
He asked me to come here to cure him. I was sorry for him and I came. Now he will pretend, no
doubt, that I have said anything which he may invent which will corroborate his insane suspicions.
You can lie as you like, Holmes. My word is always as good as yours.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-21
“Good heavens!” cried Holmes. “I had totally forgotten him. My dear Watson, I owe you a thousand apologies. To think that I should have overlooked you! I need not introduce you to Mr.
Culverton Smith, since I understand that you met somewhat earlier in the evening. Have you the
cab below? I will follow you when I am dressed, for I may be of some use at the station.
“I never needed it more,” said Holmes as he refreshed himself with a glass of claret and some biscuits in the intervals of his toilet. “However, as you know, my habits are irregular, and such a feat
means less to me than to most men. It was very essential that I should impress Mrs. Hudson with
the reality of my condition, since she was to convey it to you, and you in turn to him. You won’t be
offended, Watson? You will realize that among your many talents dissimulation finds no place,
and that if you had shared my secret you would never have been able to impress Smith with the
urgent necessity of his presence, which was the vital point of the whole scheme. Knowing his
vindictive nature, I was perfectly certain that he would come to look upon his handiwork.”
SA
“But your appearance, Holmes--your ghastly face?”
PL
M
“Three days of absolute fast does not improve one’s beauty, Watson. For the rest, there is nothing
which a sponge may not cure. With vaseline upon one’s forehead, belladonna in one’s eyes,
rouge over the cheek-bones, and crusts of beeswax round one’s lips, a very satisfying effect
can be produced. Malingering is a subject upon which I have sometimes thought of writing a
monograph. A little occasional talk about half-crowns, oysters, or any other extraneous subject
produces a pleasing effect of delirium.”
“But why would you not let me near you, since there was in truth no infection?”
E
“Can you ask, my dear Watson? Do you imagine that I have no respect for your medical talents?
Could I fancy that your astute judgment would pass a dying man who, however weak, had no rise
of pulse or temperature? At four yards, I could deceive you. If I failed to do so, who would bring
my Smith within my grasp? No, Watson, I would not touch that box. You can just see if you look
at it sideways where the sharp spring like a viper’s tooth emerges as you open it. I dare say it was
by some such device that poor Savage, who stood between this monster and a reversion, was done
to death. My correspondence, however, is, as you know, a varied one, and I am somewhat upon
my guard against any packages which reach me. It was clear to me, however, that by pretending
that he had really succeeded in his design I might surprise a confession. That pretense I have
carried out with the thoroughness of the true artist. Thank you, Watson, you must help me on
with my coat. When we have finished at the police station I think that something nutritious at
Simpson’s would not be out of place.”
End of Reading
Now you can complete Part 2 of the Reading Comprehension Questions.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-22
Reading Comprehension Questions – Lessons 17-18 Part Two
Answer the following questions using complete sentences when directed to stop
reading.
What did Watson do to pass the time while Holmes was resting?
SA
What caused Holmes to yell and what did he tell Watson to do?
PL
M
E
What was the substance of the conversation between Holmes and Watson that demonstrated
the unbalance of Holmes’s mind?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-23
What was the significance of the two times when Holmes asked for the gas (lights) to be
turned on or up?
SA
Why did Holmes tell Watson Culverton Smith was the person to bring to his room for help?
PL
M
E
What instruction did Holmes give Watson about returning?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-24
How did Watson obtain admission to Culverton Smith’s study?
SA
What was Smith’s reaction to Watson’s entrance?
PL
M
E
What instructions did Holmes give Watson about remaining in the room during the
consultation with Smith?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-25
Explain the significance of Holmes’s statement to Smith, “I appreciate your special
knowledge.” Likewise, explain the significance of Smith’s “snigger.”
SA
Tell what the conversation between Holmes and Smith revealed.
PL
M
E
Explain the significance of the black and white box.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-26
Explain why Holmes tricked Watson into believing Holmes was at death’s door.
SA
What did Holmes do and use to make it look like he was deathly ill?
PL
M
E
Summarize the second part of the story in approximately 30 words.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-1
Lessons 17 and 18
The Adventure of the Dying Detective
by Sir Arthur Conan Doyle
Beginning in Lesson 17, you will read Arthur Conan Doyle’s The Adventure of the Dying
Detective. You will be reading this in two sections as directed by your teacher. When you
finish with each section, answer the Reading Comprehension Question for Thai part. Also,
you will be asked to create a summary, in approximately 30 words, of what you have read.
Even though the story was written decades ago, it is still fresh and engaging today. Enjoy
your reading.
Reading Comprehension Questions – Lessons 17-18 Part 1
SA
Answer the following questions using complete sentences when directed to stop
reading.
Why is Holmes a trial to his landlady?
PL
M
E
What were Holmes’s symptoms as reported to Watson by Mrs. Hudson?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-2
How did Holmes become sick?
Why did Holmes tell Watson to keep his distance?
SA
M
How did Holmes hurt Watson’s feelings?
PL
E
What happened when Watson turned to leave the room to get Dr. Ainstree?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-3
Identify the conflict in the story.
Make a prediction about what will happen in the next part of the story.
SA
PL
M
E
Summarize the story’s plot to the point where you stopped reading. Do so in approximately
30 words.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-4
Draw a picture of one scene in the story. Create a caption for the picture. A caption is
usually one, two, or three sentences long and tells what is happening in the picture. Color
In order to draw on this document goto--> Tools in the
the picture.
Menu Bar--> Click Comments & Markup---> Click Show
Comments & Markups Toolbar at the bottom of list.
SA
PL
M
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-5
The Adventure of the Dying Detective
by Sir Arthur Conan Doyle
Mrs. Hudson, the landlady of Sherlock Holmes, was a long suffering woman. Not only was her
first-floor flat invaded at all hours by throngs of singular and often undesirable characters but her
remarkable lodger showed an eccentricity and irregularity in his life which must have sorely tried
her patience. His incredible untidiness, his addiction to music at strange hours, his occasional
revolver practice within doors, his weird and often malodorous scientific experiments, and the
atmosphere of violence and danger which hung around him made him the very worst tenant in
London. On the other hand, his payments were princely. I have no doubt that the house might
have been purchased at the price which Holmes paid for his rooms during the years that I was
with him.
SA
M
The landlady stood in the deepest awe of him and never dared to interfere with him, however
outrageous his proceedings might seem. She was fond of him, too, for he had a remarkable
gentleness and courtesy in his dealings with women. He disliked and distrusted [women], but
he was always a chivalrous opponent. Knowing how genuine was her regard for him, I listened
earnestly to her story when she came to my rooms in the second year of my married life and told
me of the sad condition to which my poor friend was reduced.
PL
“He’s dying, Dr. Watson,” said she. “For three days he has been sinking, and I doubt if he will last
the day. He would not let me get a doctor. This morning when I saw his bones sticking out of
his face and his great bright eyes looking at me I could stand no more of it. ‘With your leave or
without it, Mr. Holmes, I am going for a doctor this very hour,’ said I. ‘Let it be Watson, then,’ said
he. I wouldn’t waste an hour in coming to him, sir, or you may not see him alive.”
E
I was horrified for I had heard nothing of his illness. I need not say that I rushed for my coat and
my hat. As we drove back I asked for the details.
“There is little I can tell you, sir. He has been working at a case down at Rotherhithe, in an alley
near the river, and he has brought this illness back with him. He took to his bed on Wednesday
afternoon and has never moved since. For these three days neither food nor drink has passed his
lips.”
“Good God! Why did you not call in a doctor?”
“He wouldn’t have it, sir. You know how masterful he is. I didn’t dare to disobey him. But he’s not
long for this world, as you’ll see for yourself the moment that you set eyes on him.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-6
He was indeed a deplorable spectacle. In the dim light of a foggy November day the sick room
was a gloomy spot, but it was that gaunt, wasted face staring at me from the bed which sent a chill
to my heart. His eyes had the brightness of fever, there was a hectic flush upon either cheek, and
dark crusts clung to his lips; the thin hands upon the coverlet twitched incessantly, his voice was
croaking and spasmodic. He lay listlessly as I entered the room, but the sight of me brought a
gleam of recognition to his eyes.
“Well, Watson, we seem to have fallen upon evil days,” said he in a feeble voice, but with something
of his old carelessness of manner.
“My dear fellow!” I cried, approaching him. “Stand back! Stand right back!” said he with the sharp
imperiousness which I had associated only with moments of crisis. “If you approach me, Watson, I
shall order you out of the house.”
SA
“But why?”
“Because it is my desire. Is that not enough?”
M
“I only wished to help,” I explained.
PL
Yes, Mrs. Hudson was right. He was more masterful than ever. It was pitiful, however, to see his
exhaustion.
E
“Exactly! You will help best by doing what you are told.”
“Certainly, Holmes.”
He relaxed the austerity of his manner.
“You are not angry?” he asked, gasping for breath.
Poor devil, how could I be angry when I saw him lying in such a plight before me?
“It’s for your own sake, Watson,” he croaked.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-7
“For MY sake?”
“I know what is the matter with me. It is a coolie disease from Sumatra--a thing that the Dutch
know more about than we, though they have made little of it up to date. One thing only is certain.
It is infallibly deadly, and it is horribly contagious.”
He spoke now with a feverish energy, the long hands twitching and jerking as he motioned me
away.
“Contagious by touch, Watson--that’s it, by touch. Keep your distance and all is well.”
SA
“Good heavens, Holmes! Do you suppose that such a consideration weighs with me of an instant?
It would not affect me in the case of a stranger. Do you imagine it would prevent me from doing
my duty to so old a friend?”
Again I advanced, but he repulsed me with a look of furious anger.
M
“If you will stand there I will talk. If you do not you must leave the room.”
PL
I have so deep a respect for the extraordinary qualities of Holmes that I have always deferred to his
wishes, even when I least understood them. But now all my professional instincts were aroused.
Let him be my master elsewhere, I at least was his in a sick room.
E
“Holmes,” said I, “you are not yourself. A sick man is but a child, and so I will treat you. Whether
you like it or not, I will examine your symptoms and treat you for them.”
He looked at me with venomous eyes.
“If I am to have a doctor whether I will or not, let me at least have someone in whom I have
confidence,” said he.
“Then you have none in me?”
“In your friendship, certainly. But facts are facts, Watson, and, after all, you are only a general
practitioner with very limited experience and mediocre qualifications. It is painful to have to say
these things, but you leave me no choice.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-8
I was bitterly hurt.
“Such a remark is unworthy of you, Holmes. It shows me very clearly the state of your own nerves.
But if you have no confidence in me I would not intrude my services. Let me bring Sir Jasper
Meek or Penrose Fisher, or any of the best men in London. But someone you MUST have, and
that is final. If you think that I am going to stand here and see you die without either helping you
myself or bringing anyone else to help you, then you have mistaken your man.”
“You mean well, Watson,” said the sick man with something between a sob and a groan. “Shall
I demonstrate your own ignorance? What do you know, pray, of Tapanuli fever? What do you
know of the black Formosa corruption?”
SA
“I have never heard of either.”
M
“There are many problems of disease, many strange pathological possibilities, in the East, Watson.”
He paused after each sentence to collect his failing strength. “I have learned so much during
some recent researches which have a medico-criminal aspect. It was in the course of them that I
contracted this complaint. You can do nothing.”
PL
“Possibly not. But I happen to know that Dr. Ainstree, the greatest living authority upon tropical
disease, is now in London. All remonstrance is useless, Holmes, I am going this instant to fetch
him.” I turned resolutely to the door.
E
Never have I had such a shock! In an instant, with a tiger spring, the dying man had intercepted
me. I heard the sharp snap of a twisted key. The next moment he had staggered back to his bed,
exhausted and panting after his one tremendous out flame of energy.
“You won’t take the key from be by force, Watson, I’ve got you, my friend. Here you are, and
here you will stay until I will otherwise. But I’ll humor you.” (All this in little gasps, with terrible
struggles for breath between.) “You’ve only my own good at heart. Of course I know that very
well. You shall have your way, but give me time to get my strength. Not now, Watson, not now. It’s
four o’clock. At six you can go.”
“This is insanity, Holmes.”
“Only two hours, Watson. I promise you will go at six. Are you content to wait?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-9
“I seem to have no choice.”
“None in the world, Watson. Thank you, I need no help in arranging the clothes. You will please
keep your distance. Now, Watson, there is one other condition that I would make. You will seek
help, not from the man you mention, but from the one that I choose.”
“By all means.”
“The first three sensible words that you have uttered since you entered this room, Watson. You will
find some books over there. I am somewhat exhausted; I wonder how a battery feels when it pours
electricity into a non-conductor? At six, Watson, we resume our conversation.”
SA
STOP READING HERE.
Answer Part 1 of the Reading Comprehension Questions and Compose your
Summary.
M
PL
But it was destined to be resumed long before that hour, and in circumstances which gave me
a shock hardly second to that caused by his spring to the door. I had stood for some minutes
looking at the silent figure in the bed. His face was almost covered by the clothes and he appeared
to be asleep. Then, unable to settle down to reading, I walked slowly round the room, examining
the pictures of celebrated criminals with which every wall was adorned. Finally, in my aimless
perambulation, I came to the mantelpiece. A litter of pipes, tobacco-pouches, syringes, penknives,
revolver-cartridges, and other debris was scattered over it. In the midst of these was a small black
and white ivory box with a sliding lid. It was a neat little thing, and I had stretched out my hand to
examine it more closely when --
E
It was a dreadful cry that he gave--a yell which might have been heard down the street. My skin
went cold and my hair bristled at that horrible scream. As I turned I caught a glimpse of a
convulsed face and frantic eyes. I stood paralyzed, with the little box in my hand.
“Put it down! Down, this instant, Watson--this instant, I say!” His head sank back upon the pillow
and he gave a deep sigh of relief as I replaced the box upon the mantelpiece. “I hate to have my
things touched, Watson. You know that I hate it. You fidget me beyond endurance. You, a doctor-you are enough to drive a patient into an asylum. Sit down, man, and let me have my rest!”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-10
The incident left a most unpleasant impression upon my mind. The violent and causeless
excitement, followed by this brutality of speech, so far removed from his usual suavity, showed
me how deep was the disorganization of his mind. Of all ruins, that of a noble mind is the most
deplorable. I sat in silent dejection until the stipulated time had passed. He seemed to have been
watching the clock as well as I, for it was hardly six before he began to talk with the same feverish
animation as before.
“Now, Watson,” said he. “Have you any change in your pocket?”
“Yes.”
“Any silver?”
SA
“A good deal.”
“How many half-crowns?”
PL
M
“I have five.”
“Ah, too few! Too few! How very unfortunate, Watson! However, such as they are you can put
them in your watch pocket. And all the rest of your money in your left trouser pocket. Thank you.
E
It will balance you so much better like that.”
This was raving insanity. He shuddered, and again made a sound between a cough and a sob.
“You will now light the gas, Watson, but you will be very careful that not for one instant shall it
be more than half on. I implore you to be careful, Watson. Thank you, that is excellent. No, you
need not draw the blind. Now you will have the kindness to place some letters and papers upon
this table within my reach. Thank you. Now some of that litter from the mantelpiece. Excellent,
Watson! There is a sugar-tongs there. Kindly raise that small ivory box with its assistance. Place it
here among the papers. Good! You can now go and fetch Mr. Culverton Smith, of 13 Lower Burke
Street.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-11
To tell the truth, my desire to fetch a doctor had somewhat weakened, for poor Holmes was
so obviously delirious that it seemed dangerous to leave him. However, he was as eager now to
consult the person named as he had been obstinate in refusing.
“I never heard the name,” said I.
“Possibly not, my good Watson. It may surprise you to know that the man upon earth who is best
versed in this disease is not a medical man, but a planter. Mr. Culverton Smith is a well-known
resident of Sumatra, now visiting London. An outbreak of the disease upon his plantation, which
was distant from medical aid, caused him to study it himself, with some rather far-reaching
consequences. He is a very methodical person, and I did not desire you to start before six, because
I was well aware that you would not find him in his study. If you could persuade him to come here
and give us the benefit of his unique experience of this disease, the investigation of which has been
his dearest hobby, I cannot doubt that he could help me.”
SA
M
I gave Holmes’s remarks as a consecutive whole and will not attempt to indicate how they were
interrupted by gaspings for breath and those clutchings of his hands which indicated the pain
from which he was suffering. His appearance had changed for the worse during the few hours that
I had been with him. Those hectic spots were more pronounced, the eyes shone more brightly
out of darker hollows, and a cold sweat glimmered upon his brow. He still retained, however, the
jaunty gallantry of his speech. To the last gasp he would always be the master.
E
“My directions for Mr. Culverton Smith.”
PL
“You will tell him exactly how you have left me,” said he. “You will convey the very impression
which is in your own mind—a dying man--a dying and delirious man. Indeed, I cannot think why
the whole bed of the ocean is not one solid mass of oysters, so prolific the creatures seem. Ah, I am
wondering! Strange how the brain controls the brain! What was I saying, Watson?”
“Ah, yes, I remember. My life depends upon it. Plead with him, Watson. There is no good feeling
between us. His nephew, Watson--I had suspicions of foul play and I allowed him to see it. The
boy died horribly. He has a grudge against me. You will soften him, Watson. Beg him, pray him,
get him here by any means. He can save me--only he!”
“I will bring him in a cab, if I have to carry him down to it.”
“You will do nothing of the sort. You will persuade him to come. And then you will return in front
of him. Make any excuse so as not to come with him. Don’t forget, Watson. You won’t fail me. You
never did fail me. No doubt there are natural enemies which limit the increase of the creatures.
You and I, Watson, we have done our part. Shall the world, then, be overrun by oysters? No, no;
horrible! You’ll convey all that is in your mind.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-12
I left him full of the image of this magnificent intellect babbling like a foolish child. He had
handed me the key, and with a happy thought I took it with me lest he should lock himself in. Mrs.
Hudson was waiting, trembling and weeping, in the passage. Behind me as I passed from the flat
I heard Holmes’s high, thin voice in some delirious chant. Below, as I stood whistling for a cab, a
man came on me through the fog.
“How is Mr. Holmes, sir?” he asked.
It was an old acquaintance, Inspector Morton, of Scotland Yard, dressed in unofficial tweeds.
“He is very ill,” I answered.
SA
He looked at me in a most singular fashion. Had it not been too fiendish, I could have imagined
that the gleam of the fanlight showed exultation in his face.
“I heard some rumor of it,” said he.
M
The cab had driven up, and I left him.
PL
Lower Burke Street proved to be a line of fine houses lying in the vague borderland between
Notting Hill and Kensington. The particular one at which my cabman pulled up had an air of
smug and demure respectability in its old-fashioned iron railings, its massive folding-door, and
its shining brasswork. All was in keeping with a solemn butler who appeared framed in the pink
radiance of a tinted electrical light behind him.
E
“Yes, Mr. Culverton Smith is in. Dr. Watson! Very good, sir, I will take up your card.”
My humble name and title did not appear to impress Mr. Culverton Smith. Through the half-open
door I heard a high, petulant, penetrating voice.
“Who is this person? What does he want? Dear me, Staples, how often have I said that I am not to
be disturbed in my hours of study?”
There came a gentle flow of soothing explanation from the butler.
“Well, I won’t see him, Staples. I can’t have my work interrupted like this. I am not at home. Say so.
Tell him to come in the morning if he really must see me.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-13
Again the gentle murmur.
“Well, well, give him that message. He can come in the morning, or he can stay away. My work
must not be hindered.”
I thought of Holmes tossing upon his bed of sickness and counting the minutes, perhaps, until I
could bring help to him. It was not a time to stand upon ceremony. His life depended upon my
promptness. Before the apologetic butler had delivered his message I had pushed past him and was
in the room.
SA
With a shrill cry of anger a man rose from a reclining chair beside the fire. I saw a great yellow
face, coarse-grained and greasy, with heavy, double-chin, and two sullen, menacing gray eyes
which glared at me from under tufted and sandy brows. A high bald head had a small velvet
smoking-cap poised coquettishly upon one side of its pink curve. The skull was of enormous
capacity, and yet as I looked down I saw to my amazement that the figure of the man was
small and frail, twisted in the shoulders and back like one who has suffered from rickets in his
childhood.
M
“What’s this?” he cried in a high, screaming voice. “What is the meaning of this intrusion? Didn’t I
send you word that I would see you to-morrow morning?”
PL
“I am sorry,” said I, “but the matter cannot be delayed. Mr. Sherlock Holmes--”
E
The mention of my friend’s name had an extraordinary effect upon the little man. The look of
anger passed in an instant from his face. His features became tense and alert.
“Have you come from Holmes?” he asked.
“I have just left him.”
“What about Holmes? How is he?”
“He is desperately ill. That is why I have come.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-14
The man motioned me to a chair, and turned to resume his own. As he did so I caught a glimpse
of his face in the mirror over the mantelpiece. I could have sworn that it was set in a malicious and
abominable smile. Yet I persuaded myself that it must have been some nervous contraction which
I had surprised, for he turned to me an instant later with genuine concern upon his features.
“I am sorry to hear this,” said he. “I only know Mr. Holmes through some business dealings which
we have had, but I have every respect for his talents and his character. He is an amateur of crime,
as I am of disease. For him the villain, for me the microbe. There are my prisons,” he continued,
pointing to a row of bottles and jars which stood upon a side table. “Among those gelatin
cultivations some of the very worst offenders in the world are now doing time.”
“It was on account of your special knowledge that Mr. Holmes desired to see you. He has a high
opinion of you and thought that you were the one man in London who could help him.”
SA
The little man started, and the jaunty smoking-cap slid to the floor.
“Why?” he asked. “Why should Mr. Homes think that I could help him in his trouble?”
M
“Because of your knowledge of Eastern diseases.”
PL
“But why should he think that this disease which he has contracted is Eastern?”
E
“Because, in some professional inquiry, he has been working among Chinese sailors down in the
docks.”
Mr. Culverton Smith smiled pleasantly and picked up his smoking-cap.
“Oh, that’s it--is it?” said he. “I trust the matter is not so grave as you suppose. How long has he
been ill?”
“About three days.”
“Is he delirious?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-15
“Occasionally.”
“Tut, tut! This sounds serious. It would be inhuman not to answer his call. I very much resent any
interruption to my work, Dr. Watson, but this case is certainly exceptional. I will come with you at
once.”
I remembered Holmes’s injunction.
“I have another appointment,” said I.
SA
“Very good. I will go alone. I have a note of Mr. Holmes’s address. You can rely upon my being
there within half an hour at most.”
“Well, did you see him, Watson?”
“Yes; he is coming.”
PL
M
It was with a sinking heart that I reentered Holmes’s bedroom. For all that I knew the worst might
have happened in my absence. To my enormous relief, he had improved greatly in the interval. His
appearance was as ghastly as ever, but all trace of delirium had left him and he spoke in a feeble
voice, it is true, but with even more than his usual crispness and lucidity.
E
“Admirable, Watson! Admirable! You are the best of messengers.”
“He wished to return with me.”
“That would never do, Watson. That would be obviously impossible. Did he ask what ailed me?”
“I told him about the Chinese in the East End.”
“Exactly! Well, Watson, you have done all that a good friend could. You can now disappear from
the scene.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-16
“I must wait and hear his opinion, Holmes.”
“Of course you must. But I have reasons to suppose that this opinion would be very much more
frank and valuable if he imagines that we are alone. There is just room behind the head of my bed,
Watson.”
“My dear Holmes!”
SA
“I fear there is no alternative, Watson. The room does not lend itself to concealment, which is
as well, as it is the less likely to arouse suspicion. But just there, Watson, I fancy that it could be
done.” Suddenly he sat up with a rigid intentness upon his haggard face. “There are the wheels,
Watson. Quick, man, if you love me! And don’t budge, whatever happens—whatever happens, do
you hear? Don’t speak! Don’t move! Just listen with all your ears.” Then in an instant his sudden
access of strength departed, and his masterful, purposeful talk droned away into the low, vague
murmurings of a semi-delirious man.
PL
M
From the hiding-place into which I had been so swiftly hustled I heard the footfalls upon the stair,
with the opening and the closing of the bedroom door. Then, to my surprise, there came a long
silence, broken only by the heavy breathings and gaspings of the sick man. I could imagine that
our visitor was standing by the bedside and looking down at the sufferer. At last that strange hush
was broken.
“Holmes!” he cried. “Holmes!” in the insistent tone of one who awakens a sleeper. “Can’t you hear
me, Holmes?” There was a rustling, as if he had shaken the sick man roughly by the shoulder.
E
“Is that you, Mr. Smith?” Holmes whispered. “I hardly dared hope that you would come.”
The other laughed.
“I should imagine not,” he said. “And yet, you see, I am here. Coals of fire, Holmes--coals of fire!”
“It is very good of you--very noble of you. I appreciate your special knowledge.”
Our visitor sniggered.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-17
“You do. You are, fortunately, the only man in London who does. Do you know what is the matter
with you?”
“The same,” said Holmes.
“Ah! You recognize the symptoms?”
“Only too well.”
SA
“Well, I shouldn’t be surprised, Holmes. I shouldn’t be surprised if it WERE the same. A bad
lookout for you if it is. Poor Victor was a dead man on the fourth day--a strong, hearty young
fellow. It was certainly, as you said, very surprising that he should have contracted and out-of-theway Asiatic disease in the heart of London--a disease, too, of which I had made such a very special
study. Singular coincidence, Holmes. Very smart of you to notice it, but rather uncharitable to
suggest that it was cause and effect.”
M
“I knew that you did it.”
PL
“Oh, you did, did you? Well, you couldn’t prove it, anyhow. But what do you think of yourself
spreading reports about me like that, and then crawling to me for help the moment you are in
trouble? What sort of a game is that--eh?”
E
I heard the rasping, labored breathing of the sick man. “Give me the water!” he gasped.
“You’re precious near your end, my friend, but I don’t want you to go till I have had a word with
you. That’s why I give you water. There, don’t slop it about! That’s right. Can you understand what
I say?”
Holmes groaned.
“Do what you can for me. Let bygones be bygones,” he whispered. “I’ll put the words out of my
head--I swear I will. Only cure me, and I’ll forget it.”
“Forget what?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-18
“Well, about Victor Savage’s death. You as good as admitted just now that you had done it. I’ll
forget it.”
“You can forget it or remember it, just as you like. I don’t see you in the witness box. Quite another
shaped box, my good Holmes, I assure you. It matters nothing to me that you should know how
my nephew died. It’s not him we are talking about. It’s you.”
“Yes, yes.”
“The fellow who came for me--I’ve forgotten his name--said that you contracted it down in the
East End among the sailors.”
SA
“I could only account for it so.”
M
“You are proud of your brains, Holmes, are you not? Think yourself smart, don’t you? You came
across someone who was smarter this time. Now cast your mind back, Holmes. Can you think of
no other way you could have got this thing?”
PL
“I can’t think. My mind is gone. For heaven’s sake help me!”
“Yes, I will help you. I’ll help you to understand just where you are and how you got there. I’d like
you to know before you die.”
E
“Give me something to ease my pain.”
“Painful, is it? Yes, the coolies used to do some squealing towards the end. Takes you as cramp, I
fancy.”
“Yes, yes; it is cramp.”
“Well, you can hear what I say, anyhow. Listen now! Can you remember any unusual incident in
your life just about the time your symptoms began?”
“No, no; nothing.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-19
“Think again.”
“I’m too ill to think.”
“Well, then, I’ll help you. Did anything come by post?”
“By post?”
“A box by chance?”
SA
“I’m fainting--I’m gone!”
“Listen, Holmes!” There was a sound as if he was shaking the dying man, and it was all that I
could do to hold myself quiet in my hiding-place. “You must hear me. You SHALL hear me. Do
you remember a box--an ivory box? It came on Wednesday. You opened it--do you remember?”
M
“Yes, yes, I opened it. There was a sharp spring inside it. Some joke--”
PL
“It was no joke, as you will find to your cost. You fool, you would have it and you have got it. Who
asked you to cross my path? If you had left me alone I would not have hurt you.”
E
“I remember,” Holmes gasped. “The spring! It drew blood. This box--this on the table.”
“The very one, by George! And it may as well leave the room in my pocket. There goes your last
shred of evidence. But you have the truth now, Holmes, and you can die with the knowledge that
I killed you. You knew too much of the fate of Victor Savage, so I have sent you to share it. You are
very near your end, Holmes. I will sit here and I will watch you die.”
Holmes’s voice had sunk to an almost inaudible whisper.
“What is that?” said Smith. “Turn up the gas? Ah, the shadows begin to fall, do they? Yes, I will
turn it up, that I may see you the better.” He crossed the room and the light suddenly brightened.
“Is there any other little service that I can do you, my friend?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-20
“A match and a cigarette.”
I nearly called out in my joy and my amazement. He was speaking in his natural voice--a little
weak, perhaps, but the very voice I knew. There was a long pause, and I felt that Culverton Smith
was standing in silent amazement looking down at his companion.
“What’s the meaning of this?” I heard him say at last in a dry, rasping tone.
SA
“The best way of successfully acting a part is to be it,” said Holmes. “I give you my word that for
three days I have tasted neither food nor drink until you were good enough to pour me out that
glass of water. But it is the tobacco which I find most irksome. Ah, here ARE some cigarettes.” I
heard the striking of a match. “That is very much better. Halloa! halloa! Do I hear the step of a
friend?”
There were footfalls outside, the door opened, and Inspector Morton appeared.
M
“All is in order and this is your man,” said Holmes.
PL
The officer gave the usual cautions.
“I arrest you on the charge of the murder of one Victor Savage,” he concluded.
E
“And you might add of the attempted murder of one Sherlock Holmes,” remarked my friend with a
chuckle. “To save an invalid trouble, Inspector, Mr. Culverton Smith was good enough to give our
signal by turning up the gas. By the way, the prisoner has a small box in the right-hand pocket of
his coat which it would be as well to remove. Thank you. I would handle it gingerly if I were you.
Put it down here. It may play its part in the trial.”
There was a sudden rush and a scuffle, followed by the clash of iron and a cry of pain.
“You’ll only get yourself hurt,” said the inspector. “Stand still, will you?” There was the click of the
closing handcuffs.
“A nice trap!” cried the high, snarling voice. “It will bring YOU into the dock, Holmes, not me.
He asked me to come here to cure him. I was sorry for him and I came. Now he will pretend, no
doubt, that I have said anything which he may invent which will corroborate his insane suspicions.
You can lie as you like, Holmes. My word is always as good as yours.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-21
“Good heavens!” cried Holmes. “I had totally forgotten him. My dear Watson, I owe you a thousand apologies. To think that I should have overlooked you! I need not introduce you to Mr.
Culverton Smith, since I understand that you met somewhat earlier in the evening. Have you the
cab below? I will follow you when I am dressed, for I may be of some use at the station.
“I never needed it more,” said Holmes as he refreshed himself with a glass of claret and some biscuits in the intervals of his toilet. “However, as you know, my habits are irregular, and such a feat
means less to me than to most men. It was very essential that I should impress Mrs. Hudson with
the reality of my condition, since she was to convey it to you, and you in turn to him. You won’t be
offended, Watson? You will realize that among your many talents dissimulation finds no place,
and that if you had shared my secret you would never have been able to impress Smith with the
urgent necessity of his presence, which was the vital point of the whole scheme. Knowing his
vindictive nature, I was perfectly certain that he would come to look upon his handiwork.”
SA
“But your appearance, Holmes--your ghastly face?”
PL
M
“Three days of absolute fast does not improve one’s beauty, Watson. For the rest, there is nothing
which a sponge may not cure. With vaseline upon one’s forehead, belladonna in one’s eyes,
rouge over the cheek-bones, and crusts of beeswax round one’s lips, a very satisfying effect
can be produced. Malingering is a subject upon which I have sometimes thought of writing a
monograph. A little occasional talk about half-crowns, oysters, or any other extraneous subject
produces a pleasing effect of delirium.”
“But why would you not let me near you, since there was in truth no infection?”
E
“Can you ask, my dear Watson? Do you imagine that I have no respect for your medical talents?
Could I fancy that your astute judgment would pass a dying man who, however weak, had no rise
of pulse or temperature? At four yards, I could deceive you. If I failed to do so, who would bring
my Smith within my grasp? No, Watson, I would not touch that box. You can just see if you look
at it sideways where the sharp spring like a viper’s tooth emerges as you open it. I dare say it was
by some such device that poor Savage, who stood between this monster and a reversion, was done
to death. My correspondence, however, is, as you know, a varied one, and I am somewhat upon
my guard against any packages which reach me. It was clear to me, however, that by pretending
that he had really succeeded in his design I might surprise a confession. That pretense I have
carried out with the thoroughness of the true artist. Thank you, Watson, you must help me on
with my coat. When we have finished at the police station I think that something nutritious at
Simpson’s would not be out of place.”
End of Reading
Now you can complete Part 2 of the Reading Comprehension Questions.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-22
Reading Comprehension Questions – Lessons 17-18 Part Two
Answer the following questions using complete sentences when directed to stop
reading.
What did Watson do to pass the time while Holmes was resting?
SA
What caused Holmes to yell and what did he tell Watson to do?
PL
M
E
What was the substance of the conversation between Holmes and Watson that demonstrated
the unbalance of Holmes’s mind?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-23
What was the significance of the two times when Holmes asked for the gas (lights) to be
turned on or up?
SA
Why did Holmes tell Watson Culverton Smith was the person to bring to his room for help?
PL
M
E
What instruction did Holmes give Watson about returning?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-24
How did Watson obtain admission to Culverton Smith’s study?
SA
What was Smith’s reaction to Watson’s entrance?
PL
M
E
What instructions did Holmes give Watson about remaining in the room during the
consultation with Smith?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-25
Explain the significance of Holmes’s statement to Smith, “I appreciate your special
knowledge.” Likewise, explain the significance of Smith’s “snigger.”
SA
Tell what the conversation between Holmes and Smith revealed.
PL
M
E
Explain the significance of the black and white box.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 17/18-26
Explain why Holmes tricked Watson into believing Holmes was at death’s door.
SA
What did Holmes do and use to make it look like he was deathly ill?
PL
M
E
Summarize the second part of the story in approximately 30 words.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 19-1
Lesson 19
Evaluating The Adventure of the Dying Detective
Now that you have completed reading The Adventure of the Dying Detective, it is time to
evaluate the story for the presence and use of the elements of mystery. Sir Arthur Conan
Doyle is a master of the mystery genre, so this is a good subject for your scrutiny.
You may wish to read the following questions, then quickly reread the story. By doing so,
you may pick up some clues you missed when you read the story for the first time.
Find at least five examples of events in the story that should have told you Holmes’s illness
was bogus and Culverton Smith was more involved in Holmes’s “illness” than he appeared
to be.
SA
Mystery writers use suspense to entice the reader to keep reading. The reader wants to
find out what will happen. Often, the reader is worried or nervous about the outcome of
the plot. List some examples of suspense that you experienced as you read The Adventure
of the Dying Detective.
PL
M
Consider the three main characters in the story: Sherlock Holmes, Dr. Watson, and
Culverton Smith. Write one paragraph about each character. Describe the character’s
personality, appearance (if possible), and nature. Your reader should have a solid basic
understanding of the character after reading each paragraph. Be sure each paragraph
has a topic sentence, supporting sentences, and a concluding sentence summing up the
paragraph.
E
Did any of the characters exhibit growth or change during the story? Explain your answer.
Write a paragraph describing the conflict in the story. The conflict is what gives the story
direction and focus. Solving the conflict allows the story to come to an end. Again, your
paragraph should include a topic sentence, supporting sentences, and a concluding
sentence.
Red herrings are pieces of information in a mystery story that lead the reader, and usually
the person trying to solve the problem, down the wrong path. Holmes employed some red
herrings with Watson to make Watson believe Holmes’s illness was real. These same red
herrings, by extension, fooled Culverton Smith into believing the illness was real. List at
least three red herrings Doyle used.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 19-2
When Smith enters Holmes’s room and wakes him, Holmes asks Smith if he has really come.
Smith replies, “And yet, you see, I am here. Coals of fire, Holmes, coals of fire!” The term
“coals of fire” is an allusion or reference to something the author thinks will add extra
meaning to the story for the reader. Authors assume the reader will make the connection
between the reference and what is going on in the story. Do you know what the allusion
to “coals of fire” means? Tell what Doyle means by having Smith refer to “coals of fire.” If
you do not know, conduct an Internet search to locate the reference. Cite the source of the
reference and explain the connection between the reference and having Culverton Smith
say it. You may have to ask your teacher to help you with the process of understanding this
allusion.
SA
Lesson Wrap-Up: You have thoroughly studied and examined The Adventure of the
Dying Detective by Sir Arthur Conan Doyle. You are now familiar with the elements of
mystery: conflict, characterization, and suspense. You have learned what a red herring is
and how to use allusions. All of this knowledge will be crucial when you begin creating
your mystery story in Lesson 20.
PL
M
E
PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-1
Lessons 20, 21 and 22
Creating a Mystery of Your Own
This is the first of a three Lesson mystery writing assignment.
Much thought and preparation goes into writing a mystery story. There are certain terms
that are common in this genre. Here are some of them that you will want to incorporate
into your writing. Choose a few of your favorites and make sure they fit into your story!
Alibi: An excuse a suspect gives to explain where he or she was during the time the crime
was committed
Breakthrough: An event that leads to discovering the mystery
SA
Clue: A hint or fact that helps the crime solver
Crime: Anything that breaks the law
Deduction: Making a conclusion
Detective: The person or persons who are working to solve the mystery
M
Evidence: An object or confession that helps solve the mystery
Hunch: A guess based on evidence that is presented
Mystery: Something that is unknown
PL
Motive: The reason why a person does something
Red herring: A fake clue that leads the detective off track
Sleuth: Another word for detective
Witness: The person who saw the crime happen
E
Suspect: The person who is believed to have committed the crime
Now you have to put on your thinking cap and start thinking of a mystery that you can
create and solve. You will have to think of a problem, or conflict, someone to solve the
problem, and characters to carry out the action. You will have to think where and when
this problem or crime occurs. You will want to build suspense. You will want to include
some clues for your problem solver and your readers. You will also want to include some
red herrings for your problem solver and your readers. You may choose to have your
characters grow or change or learn a Lesson during the course of the story.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-2
That is a lot to think about. It will be worth your time to think things out before you get
started writing the story. In Lesson 20, you have time to conduct some research to build a
foundation for your story.
t:PVNBZXJTIUPåOEPUIFSTIPSUTUPSZNZTUFSJFTBOESFBEUIFNGPSJOTQJSBUJPO
t:PVNBZEFDJEFUPTFUZPVSTUPSZJOBQMBDFZPVIBWFOFWFSCFFO*OUIBUDBTFZPV
will want to research your location and time period.
t*GZPVSDIBSBDUFSTIBWFTQFDJBMTLJMMTZPVXJMMXBOUUPSFBENPSFBCPVUUIFNTP
you can make the story more realistic.
SA
t&OHBHFJOBGSFFXSJUFPSCSBJOTUPSNJOHTFTTJPOXIFSFZPVBSFDPNJOHVQXJUI the details of the story. You may want to use a bubble map or cluster format for
your brainstorming activity. You may not use all of the details, but once you
have listed them, you can select the ones which will work best for you and your
characters.
t#SBJOTUPSNBOJEFBGPSUIFDSJNF
t#MPDLPVUUIFTUPSZ5IJTJTKVTUBSPVHIPVUMJOFPGUIFBDUJPOPGUIFTUPSZ*UXJMM
tell what happens and the order in which it happens. This will get you ready
to start Lesson 21.
M
Here are some questions to help you get started.
PL
The crime: What is it, and who has done it? A good writer plans ahead. Who will be in
charge of solving it?
Characters: How many other characters are there? What are their roles in the story?
Develop each character by giving them at least two specific character traits.
E
Setting: Where did the crime take place? What time of year is it? How does the setting
add to or detract from the story?
Clues: What are the hints that will lead the detective to solve the crime? Plan them out
before you write.
Red Herrings: What are the distractions that lead the investigator off track?
Plot: List the order of the story from beginning, middle to end.
Conclusion: How does the story end? The crime must be solved. Do not leave it open ended.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-3
Now you are ready to begin the second Lesson dedicated to writing your own mystery. You
have a roughed in story idea. Now you can begin to fine tune the story.
t$PODFOUSBUFPOUIFTFUUJOH8IFOEFTDSJCJOHUIFBDUJPOJODMVEFEFTDSJQUJWF
sensory words to make the setting very vivid.
t Concentrate on creating colorful characters. Your characters should have personality
and distinctive traits and qualities. They should be alive and easily identifiable.
t$SFBUFZPVSSPVHIESBGU4JUEPXOBOEBDUVBMMZXSJUFUIFTUPSZ5IJTXJMMCF
your first time putting it all together, with all the details including the building
suspense, theconflict, the clues, and all the action of the story.
tWhen you have completed the rough draft, you will be at the end of Lesson 21.
Your story should be three to five handwritten pages long. If it is typed, it should
be two to three pages long.
t/PXZPVBSFSFBEZUPTQFOEZPVSUIJSE-FTTPOXPSLJOHPOZPVSNZTUFSZTUPSZ#Z the end of Lesson 22, you should have a high quality finished product to submit
to your teacher.
t4QFOEUIFUJNFHJWFOUPZPVGPS-FTTPOUPSFSFBEZPVSSPVHIESBGUThis is the
time to make corrections and changes to the story.
t&YBNJOFUIFTUPSZGPSTVTQFOTF*GJUEPFTOPUDSFBUFTVTQFOTFJOUIFSFBEFSNBLF
some changes to make the story more nerve wracking.
t-PPLBUZPVSDIBSBDUFST%PUIFZBDUDPOTJTUFOUMZJODIBSBDUFSUISPVHIPVUUIF
story? Are your characters well defined? Do they have personality? Do they
dress, speak, look, think, and act in distinctive ways? You may need to make
changes to your characters to make them more realistic. Do your characters grow
or change throughout the story?
SA
PL
M
E
Have you provided hints about the outcome for the reader without giving the story away?
Your hints should be subtle and maybe not even noticeable until the story ends and the
reader looks back on the action and thinks, “OK, now I know what it meant when that
happened!” Take some time to look at your clues and be sure they do not give too much
away too early. You don’t want to spoil the suspense.
t*TUIFDPOýJDUTUSPOHFOPVHIUPLFFQUIFTUPSZNPWJOH "TUIFNBJODIBSBDUFS struggles with the conflict, problems arise. These problems give life and energy
to the plot. Examine the conflict and the actions caused by the conflict to be sure
the story moves along to its natural conclusion.
t8IFOZPVIBWFSFWJFXFEZPVSTUPSZGPSBMMPGUIFBCPWFFMFNFOUTBOENBEF
changes as necessary, you are ready to write your final copy. Your final copy
should be error-free, neat, and reflective of your best work
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-4
Here is the rubric which will be used for assessment.
SA
PL
M
E
Lesson Wrap-Up: How did it feel to write like a mystery writer? What was the outcome
of your story? Creating a mystery from beginning to end can be a hard task. But you did
it! In your next large writing assignment, don’t forget to include important details about
setting and character, just as you did in this story. Be sure to keep a copy of this story in
your records so you can chart your progress as a writer.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-1
Lessons 20, 21 and 22
Creating a Mystery of Your Own
This is the first of a three Lesson mystery writing assignment.
Much thought and preparation goes into writing a mystery story. There are certain terms
that are common in this genre. Here are some of them that you will want to incorporate
into your writing. Choose a few of your favorites and make sure they fit into your story!
Alibi: An excuse a suspect gives to explain where he or she was during the time the crime
was committed
Breakthrough: An event that leads to discovering the mystery
SA
Clue: A hint or fact that helps the crime solver
Crime: Anything that breaks the law
Deduction: Making a conclusion
Detective: The person or persons who are working to solve the mystery
M
Evidence: An object or confession that helps solve the mystery
Hunch: A guess based on evidence that is presented
Mystery: Something that is unknown
PL
Motive: The reason why a person does something
Red herring: A fake clue that leads the detective off track
Sleuth: Another word for detective
Witness: The person who saw the crime happen
E
Suspect: The person who is believed to have committed the crime
Now you have to put on your thinking cap and start thinking of a mystery that you can
create and solve. You will have to think of a problem, or conflict, someone to solve the
problem, and characters to carry out the action. You will have to think where and when
this problem or crime occurs. You will want to build suspense. You will want to include
some clues for your problem solver and your readers. You will also want to include some
red herrings for your problem solver and your readers. You may choose to have your
characters grow or change or learn a Lesson during the course of the story.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-2
That is a lot to think about. It will be worth your time to think things out before you get
started writing the story. In Lesson 20, you have time to conduct some research to build a
foundation for your story.
t:PVNBZXJTIUPåOEPUIFSTIPSUTUPSZNZTUFSJFTBOESFBEUIFNGPSJOTQJSBUJPO
t:PVNBZEFDJEFUPTFUZPVSTUPSZJOBQMBDFZPVIBWFOFWFSCFFO*OUIBUDBTFZPV
will want to research your location and time period.
t*GZPVSDIBSBDUFSTIBWFTQFDJBMTLJMMTZPVXJMMXBOUUPSFBENPSFBCPVUUIFNTPy
you can make the story more realistic.
SA
t&OHBHFJOBGSFFXSJUFPSCSBJOTUPSNJOHTFTTJPOXIFSFZPVBSFDPNJOHVQXJUI the details of the story. You may want to use a bubble map or cluster format for
your brainstorming activity. You may not use all of the details, but once you
have listed them, you can select the ones which will work best for you and your
characters.
t#SBJOTUPSNBOJEFBGPSUIFDSJNF
t#MPDLPVUUIFTUPSZ5IJTJTKVTUBSPVHIPVUMJOFPGUIFBDUJPOPGUIFTUPSZ*UXJMM
tell what happens and the order in which it happens. This will get your ready
to start Lesson 21.
M
Here are some questions to help you get started.
PL
The crime: What is it, and who has done it? A good writer plans ahead. Who will be in
charge of solving it?
Characters: How many other characters are there? What are their roles in the story?
Develop each character by giving them at least two specific character traits.
E
Setting: Where did the crime take place? What time of year is it? How does the setting
add to or detract from the story?
Clues: What are the hints that will lead the detective to solve the crime? Plan them out
before you write.
Red Herrings: What are the distractions that lead the investigator off track?
Plot: List the order of the story from beginning, middle to end.
Conclusion: How does the story end? The crime must be solved. Do not leave it open ended.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-3
Now you are ready to begin the second Lesson dedicated to writing your own mystery. You
have a roughed in story idea. Now you can begin to fine tune the story.
t$PODFOUSBUFPOUIFTFUUJOH8IFOEFTDSJCJOHUIFBDUJPOJODMVEFEFTDSJQUJWF
sensory words to make the setting very vivid.
t Concentrate on creating colorful characters. Your characters should have personality
and distinctive traits and qualities. They should be alive and easily identifiable.
t$SFBUFZPVSSPVHIESBGU4JUEPXOBOEBDUVBMMZXSJUFUIFTUPSZ5IJTXJMMCF
your first time putting it all together, with all the details including the building
suspense, theconflict, the clues, and all the action of the story.
tWhen you have completed the rough draft, you will be at the end of Lesson 21.
Your story should be three to five handwritten pages long. If it is typed, it should
be two to three pages long.
t/PXZPVBSFSFBEZUPTQFOEZPVSUIJSE-FTTPOXPSLJOHPOZPVSNZTUFSZTUPSZ#Z the end of Lesson 22, you should have a high quality finished product to submit
to your teacher.
t4QFOEUIFUJNFHJWFOUPZPVGPS-FTTPOUPSFSFBEZPVSSPVHIESBGUThis is the
time to make corrections and changes to the story.
t&YBNJOFUIFTUPSZGPSTVTQFOTF*GJUEPFTOPUDSFBUFTVTQFOTFJOUIFSFBEFSNBLF
some changes to make the story more nerve wracking.
t-PPLBUZPVSDIBSBDUFST%PUIFZBDUDPOTJTUFOUMZJODIBSBDUFSUISPVHIPVUUIF
story? Are your characters well defined? Do they have personality? Do they
dress, speak, look, think, and act in distinctive ways? You may need to make
changes to your characters to make them more realistic. Do your characters grow
or change throughout the story?
SA
PL
M
E
Have you provided hints about the outcome for the reader without giving the story away?
Your hints should be subtle and maybe not even noticeable until the story ends and the
reader looks back on the action and thinks, “OK, now I know what it meant when that
happened!” Take some time to look at your clues and be sure they do not give too much
away too early. You don’t want to spoil the suspense.
t*TUIFDPOýJDUTUSPOHFOPVHIUPLFFQUIFTUPSZNPWJOH "TUIFNBJODIBSBDUFS struggles with the conflict, problems arise. These problems give life and energy
to the plot. Examine the conflict and the actions caused by the conflict to be sure
the story moves along to its natural conclusion.
t8IFOZPVIBWFSFWJFXFEZPVSTUPSZGPSBMMPGUIFBCPWFFMFNFOUTBOENBEF
changes as necessary, you are ready to write your final copy. Your final copy
should be error-free, neat, and reflective of your best work
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-4
Here is the rubric which will be used for assessment.
SA
PL
M
E
Lesson Wrap-Up: How did it feel to write like a mystery writer? What was the outcome
of your story? Creating a mystery from beginning to end can be a hard task. But you did
it! In your next large writing assignment, don’t forget to include important details about
setting and character, just as you did in this story. Be sure to keep a copy of this story in
your records so you can chart your progress as a writer.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-1
Lessons 20, 21 and 22
Creating a Mystery of Your Own
This is the first of a three Lesson mystery writing assignment.
Much thought and preparation goes into writing a mystery story. There are certain terms
that are common in this genre. Here are some of them that you will want to incorporate
into your writing. Choose a few of your favorites and make sure they fit into your story!
Alibi: An excuse a suspect gives to explain where he or she was during the time the crime
was committed
Breakthrough: An event that leads to discovering the mystery
SA
Clue: A hint or fact that helps the crime solver
Crime: Anything that breaks the law
Deduction: Making a conclusion
Detective: The person or persons who are working to solve the mystery
M
Evidence: An object or confession that helps solve the mystery
Hunch: A guess based on evidence that is presented
Mystery: Something that is unknown
PL
Motive: The reason why a person does something
Red herring: A fake clue that leads the detective off track
Sleuth: Another word for detective
Witness: The person who saw the crime happen
E
Suspect: The person who is believed to have committed the crime
Now you have to put on your thinking cap and start thinking of a mystery that you can
create and solve. You will have to think of a problem, or conflict, someone to solve the
problem, and characters to carry out the action. You will have to think where and when
this problem or crime occurs. You will want to build suspense. You will want to include
some clues for your problem solver and your readers. You will also want to include some
red herrings for your problem solver and your readers. You may choose to have your
characters grow or change or learn a Lesson during the course of the story.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-2
That is a lot to think about. It will be worth your time to think things out before you get
started writing the story. In Lesson 20, you have time to conduct some research to build a
foundation for your story.
t:PVNBZXJTIUPåOEPUIFSTIPSUTUPSZNZTUFSJFTBOESFBEUIFNGPSJOTQJSBUJPO
t:PVNBZEFDJEFUPTFUZPVSTUPSZJOBQMBDFZPVIBWFOFWFSCFFO*OUIBUDBTFZPV
will want to research your location and time period.
t*GZPVSDIBSBDUFSTIBWFTQFDJBMTLJMMTZPVXJMMXBOUUPSFBENPSFBCPVUUIFNTPy
you can make the story more realistic.
SA
t&OHBHFJOBGSFFXSJUFPSCSBJOTUPSNJOHTFTTJPOXIFSFZPVBSFDPNJOHVQXJUI the details of the story. You may want to use a bubble map or cluster format for
your brainstorming activity. You may not use all of the details, but once you
have listed them, you can select the ones which will work best for you and your
characters.
t#SBJOTUPSNBOJEFBGPSUIFDSJNF
t#MPDLPVUUIFTUPSZ5IJTJTKVTUBSPVHIPVUMJOFPGUIFBDUJPOPGUIFTUPSZ*UXJMM
tell what happens and the order in which it happens. This will get your ready
to start Lesson 21.
M
Here are some questions to help you get started.
PL
The crime: What is it, and who has done it? A good writer plans ahead. Who will be in
charge of solving it?
Characters: How many other characters are there? What are their roles in the story?
Develop each character by giving them at least two specific character traits.
E
Setting: Where did the crime take place? What time of year is it? How does the setting
add to or detract from the story?
Clues: What are the hints that will lead the detective to solve the crime? Plan them out
before you write.
Red Herrings: What are the distractions that lead the investigator off track?
Plot: List the order of the story from beginning, middle to end.
Conclusion: How does the story end? The crime must be solved. Do not leave it open ended.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-3
Now you are ready to begin the second Lesson dedicated to writing your own mystery. You
have a roughed in story idea. Now you can begin to fine tune the story.
t$PODFOUSBUFPOUIFTFUUJOH8IFOEFTDSJCJOHUIFBDUJPOJODMVEFEFTDSJQUJWF
sensory words to make the setting very vivid.
t Concentrate on creating colorful characters. Your characters should have personality
and distinctive traits and qualities. They should be alive and easily identifiable.
t$SFBUFZPVSSPVHIESBGU4JUEPXOBOEBDUVBMMZXSJUFUIFTUPSZ5IJTXJMMCF
your first time putting it all together, with all the details including the building
suspense, theconflict, the clues, and all the action of the story.
tWhen you have completed the rough draft, you will be at the end of Lesson 21.
Your story should be three to five handwritten pages long. If it is typed, it should
be two to three pages long.
t/PXZPVBSFSFBEZUPTQFOEZPVSUIJSE-FTTPOXPSLJOHPOZPVSNZTUFSZTUPSZ#Z the end of Lesson 22, you should have a high quality finished product to submit
to your teacher.
t4QFOEUIFUJNFHJWFOUPZPVGPS-FTTPOUPSFSFBEZPVSSPVHIESBGUThis is the
time to make corrections and changes to the story.
t&YBNJOFUIFTUPSZGPSTVTQFOTF*GJUEPFTOPUDSFBUFTVTQFOTFJOUIFSFBEFSNBLF
some changes to make the story more nerve wracking.
t-PPLBUZPVSDIBSBDUFST%PUIFZBDUDPOTJTUFOUMZJODIBSBDUFSUISPVHIPVUUIF
story? Are your characters well defined? Do they have personality? Do they
dress, speak, look, think, and act in distinctive ways? You may need to make
changes to your characters to make them more realistic. Do your characters grow
or change throughout the story?
SA
PL
M
E
Have you provided hints about the outcome for the reader without giving the story away?
Your hints should be subtle and maybe not even noticeable until the story ends and the
reader looks back on the action and thinks, “OK, now I know what it meant when that
happened!” Take some time to look at your clues and be sure they do not give too much
away too early. You don’t want to spoil the suspense.
t*TUIFDPOýJDUTUSPOHFOPVHIUPLFFQUIFTUPSZNPWJOH "TUIFNBJODIBSBDUFS struggles with the conflict, problems arise. These problems give life and energy
to the plot. Examine the conflict and the actions caused by the conflict to be sure
the story moves along to its natural conclusion.
t8IFOZPVIBWFSFWJFXFEZPVSTUPSZGPSBMMPGUIFBCPWFFMFNFOUTBOENBEF
changes as necessary, you are ready to write your final copy. Your final copy
should be error-free, neat, and reflective of your best work
STUDENT MANUAL
LANGUAGE ARTS — LESSON 20, 21 & 22-4
Here is the rubric which will be used for assessment.
SA
PL
M
E
Lesson Wrap-Up: How did it feel to write like a mystery writer? What was the outcome
of your story? Creating a mystery from beginning to end can be a hard task. But you did
it! In your next large writing assignment, don’t forget to include important details about
setting and character, just as you did in this story. Be sure to keep a copy of this story in
your records so you can chart your progress as a writer.
Print Form
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-1
Lesson 23
Working with Sentences
In this Lesson you will be studying sentences. We will examine the four different types of
sentences, sentence fragments, run-on sentences, and sentences with compound subjects
or verbs.
When you have studied the material presented in this Lesson, you will create a computer
based presentation explaining the four different types of sentences, fragments, runons, and sentences with compound subjects or verbs. You will find out more about the
presentation assignment in the next Lesson.
But, before you create your presentation, you must practice the skills.
SA
Types of Sentences
Sentences can be used for more than just explaining ideas and being descriptive. They can
be used to make statements, give commands, ask questions or just to express feelings.
The four kinds of sentences are as follows:
M
Declarative, Interrogative, Imperative, and Exclamatory.
PL
Declarative: This type of sentence makes a statement, tells a fact, or expresses an opinion.
It always ends with a period.
Example: The Lions will win the Super Bowl in 2010.
Example: Winter weather is the most enjoyable weather of the year.
Example: The President of the United States is also the Commander-in-Chief.
Example: A football field has 100 yards.
E
Imperative: This type of sentence gives a command or suggests that someone do something.
It usually ends with a period, but in certain cases it can end with an exclamation point
particularly to show emphasis.
Example: Please shut the door.
Example: Do it right now!
Example: When the judge enters the room, stand up.
Example: Help me chalk the lines on the field.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-2
Exclamatory: This type of sentence expresses strong emotion or feeling. It always ends
with an exclamation point!
Example: Get out of the street!
Example: That’s hot! Don’t touch!
Example: A tornado is coming!
Example: This is a great football game!
Interrogative: This type of sentence asks a question. It always ends with a question mark.
Example: What do you like best, apples or oranges?
Example: Is it true that you already know Fred?
Example: Why doesn’t the boy tell the truth?
SA
Example: How many popsicle sticks would it take to reach from one end of a football field to the other?
Lesson Wrap-Up: Knowing the different types of sentences can be particularly useful in
writing dialogue. Use the different types of sentences to emulate the way people speak.
This adds flavor to the writing.
M
PL
Sentence fragments and run-ons can make your writing very hard to understand. You may
be trying to make a very specific point, however, it gets lost in the writing. Try reading your
writing to yourself prior to turning it in for grading. Nine times out of ten, you will be able
to hear the errors as you speak aloud.
E
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-3
Types of Sentences Practice Exercises
Read the sentences below and write D for declarative, I for Interrogative, E for
Exclamatory, and M for Imperative.
1. That alligator is chasing me!
2. My mother works two jobs.
3. Take the trash out please.
4. Thursday is my favorite day of the week.
5. What is your favorite color?
6. Learn how to play football.
SA
Write two examples for each of the types of sentences in the space below.
Declarative:
E
Imperative:
PL
Exclamatory:
M
Interrogative:
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-4
Compound Sentence Parts- Compound Subjects and Compound Verbs
Sometimes sentences have compound sentence parts. Sometimes the subject of the
sentence is made up of two or more parts which share the same verb.
If there are two or more subjects for one verb, it is called a compound subject.
Example: Zippy Burger and Tasty Tacos are both fast food restaurants.
Zippy Burger and Tasty Tacos are both subjects, ARE is the verb.
Example: Mary, Antonio, and Ali worked on the freshman homecoming float.
Mary, Antonio, and Ali are the subjects, WORKED is the verb.
Example: Aunt Eleanor and Aunt Betty cook the world’s best meals.
SA
Aunt Eleanor and Aunt Betty are the subjects, COOK is the verb.
The verb is considered a compound verb if two or more verbs have the same subject.
Remember the verb performs the action in the sentence.
M
Example: Zippy Burger cooks fries and serves pop.
Cooks and serves are the verbs. The subject is Zippy Burger.
PL
Example: Laura plants the garden, tends the garden, and enjoys harvesting the garden.
Plants, tends, and enjoys are the verbs. The subject is Laura.
Example: Maurice slices and tenderizes the meat before every meal.
E
Slices and tenderizes are the verbs. The subject is Maurice.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-5
Compound Subjects and Compound Verbs Practice Exercises
For practice, identify the compound subjects or compound verbs in the following
sentences. Be sure to tell if it is a compound verb or a compound subject.
1. The dog, the cat, and the hamster eat a lot of food.
2. Michael and Audrey smile more than anybody.
3. The investment banker studied the market and invested wisely.
SA
4. Our grandparents invited everyone to the restaurant and paid for everyone’s meals.
M
5. They drove up north, unpacked the car, and camped in a tent at the park.
PL
6. Mariah, Doha, and Eva won the talent show with their dance routine.
E
7. Mom and Dad treat their children beautifully.
8. We love New York City, enjoy Maine, and tolerate Nevada.
9. The sixth graders and eighth graders lost the spirit contest.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-6
Fragments and Run-ons
A sentence fragment is a sentence that does not have a subject or verb. It does not express
a complete thought.
Example: The big, black fly (No verb)
Example: Buzzed around my head (No subject)
To make the sentences complete, just add the missing parts.
The big, black fly was very annoying. It buzzed around my head.
Example: Even though she said it was acceptable
She denied my request even though she said it was acceptable.
Even though she said it was acceptable, she wouldn’t sign the contract.
SA
Example: Looked like a good idea
It looked like a good idea.
We all thought it looked like a good idea.
M
Run-on Sentences
PL
A run-on sentence is two or more sentences put together to make one LONG sentence
without benefit of a period or other end mark. Please note that when you correct run-on
sentences, there are several ways to correctly amend the run-on.
Example: The sand crab crept across the shoreline, the pigeon eyed him carefully.
E
The sand crab crept across the shoreline. The pigeon eyed him carefully.
Example: We went to the store and we went to the movie then we went out to eat.
We went to the store and the movie. Then we went out to eat.
Example: The babysitter could not stop crying she called her mother and just cried and cried.
The babysitter could not stop crying. She called her mother and just cried and cried.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-7
Fragments and Run-ons Practice Exercises
For practice identify the complete sentences, the sentence fragments, and the
run-on sentences.
1. Everyone likes to read a well written sentence.
2. Didn’t know what he was talking about.
3. Liked knowing she was popular.
SA
4. The soccer player injured his knee.
M
5. Playing soccer is a lot of fun it also can be dangerous.
PL
6. Forever promised he would stay with by her side.
E
7. I like to know what is going on some people think I am nosy.
8. Thought it was going to be alright.
9. Nobody told me what the joke meant.
10. We thought we would win the championship.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-8
Phrases and Clauses
A phrase is a group of words that doesn’t have a subject or a predicate.
One type of phrase is a prepositional phrase which begins with a preposition.
Example:
After one o’clock, we ate lunch.
Another types of phrase is an infinitive phrase. It has an infinitive (i.e. to run, to cook) and
some type of object.
Example:
SA
The teenage boy wanted to eat the last cookie.
A clause is a group of words that has a subject and a predicate.
M
There are two types of clauses, independent and dependent.
An independent clause is able to stand alone as a sentence.
Example:
PL
My brother danced.
E
A dependent clause relies on the rest of the sentence to have meaning. It begins with a
relative pronoun or a subordinating conjunction.
If you are good today, you may play your video game tonight.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-9
Phrases and Clauses Practice
For practice, write the phrase in each sentence on the line below the sentence.
1. In a few minutes, I will cook dinner.
2. We did our homework after school.
3. Lori wanted to swim in the pond.
SA
4. At the library, we spoke quietly.
PL
M
5. My father likes to take a nap.
For practice, label the clause dependent or independent.
6. I ran yesterday.
8. Yet it was late.
9. She lost her pencil.
10. But he left the door open.
E
7. And the balloon broke.
STUDENT MANUAL
SEVENTH GRADE LANGUAGE ARTS — LESSON 23-10
For practice, add a phrase to each of these sentences.
11. The dog walked.
12. I ran.
13. The student studied.
SA
For practice, add a dependent clause to each of these sentences.
14. A boy eats.
PL
M
15. She jumped.
E
PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 24/25-1
Lessons 24 and 25
Writing Sentences Presentation
In Lesson 23, you learned about the four different types of sentences, sentence fragments,
run-on sentences, compound subjects and compound verbs. You were given practice
identifying each case.
Now it is time for you to show what you learned. Pretend that you are working with
someone who is just learning advanced grammar rules. You will need to provide your
“student” with definitions, examples of correct usage, and a short concept practice at the
end of each section.
Here is how you will be graded:
SA
Grammar Skills:
t Clear explanation of each grammar skill: 5 points each
t Two examples of each skill: 5 points each
M
t Three question practice for each skill: 5 points each
t Correct Spelling: 10 points
t Creativity of presentation: 10 points
PL
t Practice Test covering all skills, fill in the blanks or multiple choice: 20 points.
Please note that the grammar skills for this assignment are declarative sentences,
interrogative sentences, imperative sentences, exclamatory sentences, sentence fragments,
run-on sentences, compound subjects, and compound verbs.
E
For example, you will need a slide or poster for the declarative sentence explaining what it
is. You will need to give two examples of the declarative sentence. Create a three question
practice exercise for the declarative sentence.
Then you will go on to the interrogative sentence following the same format. You will
include all of the skills mentioned above and covered in Lesson 23.
When you have completed all of the slides or posters as directed, create a practice test for
all of the skills you covered. Your Practice Test can ask questions for the student to fill in
blanks or can be multiple choice questions. You will be given until the end of Lesson 25 to
complete this assignment.
Lesson Wrap-Up: Using a computer or poster board presentation is an effective and fun
way to teach. Not only have you prepared yourself to teach these skills to another person,
but you have solidified your own skills in this area. Be proud of a job well done!
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 24/25-1
Lessons 24 and 25
Writing Sentences Presentation
In Lesson 23, you learned about the four different types of sentences, sentence fragments,
run-on sentences, compound subjects and compound verbs. You were given practice
identifying each case.
Now it is time for you to show what you learned. Pretend that you are working with
someone who is just learning advanced grammar rules. You will need to provide your
“student” with definitions, examples of correct usage, and a short concept practice at the
end of each section.
Here is how you will be graded:
SA
Grammar Skills:
t Clear explanation of each grammar skill: 5 points each
t Two examples of each skill: 5 points each
M
t Three question practice for each skill: 5 points each
t Correct Spelling: 10 points
t Creativity of presentation: 10 points
PL
t Practice Test covering all skills, fill in the blanks or multiple choice: 20 points.
Please note that the grammar skills for this assignment are declarative sentences,
interrogative sentences, imperative sentences, exclamatory sentences, sentence fragments,
run-on sentences, compound subjects, and compound verbs.
E
For example, you will need a slide or poster for the declarative sentence explaining what it
is. You will need to give two examples of the declarative sentence. Create a three question
practice exercise for the declarative sentence.
Then you will go on to the interrogative sentence following the same format. You will
include all of the skills mentioned above and covered in Lesson 23.
When you have completed all of the slides or posters as directed, create a practice test for
all of the skills you covered. Your Practice Test can ask questions for the student to fill in
blanks or can be multiple choice questions. You will be given until the end of Lesson 25 to
complete this assignment.
Lesson Wrap-Up: Using a computer or poster board presentation is an effective and fun
way to teach. Not only have you prepared yourself to teach these skills to another person,
but you have solidified your own skills in this area. Be proud of a job well done!
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-1
Begin the unit by explaining the project, broken out into daily Lesson tasks as shown below:
Lesson 26-30
Creating A College Brochure
The student will conduct an internet search for career interest inventories. There are many
available. The student will take the interest inventory, find out which career path matches
with her interests, and begin to search for colleges, universities, or trade schools which will
provide an education in her area of interest.
Conducting the college, university, or trade school search will be done on-line. When the
student has his career path defined (as indicated by the interest inventory results), he can
search for his career path by pairing it with the term “colleges offering degrees in …” Do
not allow the student to research a program which offers on-line degrees only. The student
should research a college which has a campus in a geographic location.
SA
Another source for information about jobs, job training, and education needed to
perform certain jobs is through the government’s website which serves as a handbook
offering information about the outlook for thousands of occupations. Using the key words
occupational, outlook, and handbook should provide helpful results.
PL
M
The student should look for three college, university, or training programs in her area of
interest to research in the next Lesson.
E
Lessons 27 — 30
In these Lessons, the student will have already determined which three institutions of
higher learning he wants to research. He will create a worksheet for each one.
Key Information to include on this Worksheet:
tThe location of the school (city and state), climate and geographic features
of the region;
tWeb address and phone number
tThe size of the school; famous graduates; age of the institution; at least
five degree programs offered at the school; cost of tuition; scholarship
information; housing information; school motto; school mascot; a
description of the campus.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-2
In addition, he will find three additional facts about the school which seem interesting
or important to him, such as “the first University in the U.S. to offer Alternative Medicine
courses”.
In addition, the student will create there specific questions about the institution, then
phone or email the appropriate department to get the answers. Basically, the student
may use all types of communication and correspondence methods to get the information
he needs: telephone, email, conduct an on-line interview, or write a letter asking for
information.
It should take the student two Lessons (Lessons 27 and 28) and part of a third (Lesson 29) to
complete the three Worksheets for the three institutions of higher learning and composing
and asking the three questions of each school.
SA
During Lesson 29, the student should begin designing and creating the brochure advertising
the school of his choice. The brochure should be complete by the end of Lesson 30.
The brochure can be created on the computer or by hand, or by a combination of the two
styles. The following elements must be included:
t Location
M
t Name of the institution
t Two pictures of the institution or its campus
t Degree programs available
PL
t Contact information, including how to begin the enrollment process
t Five reasons why students should choose this school
E
The brochure should be neat, visually appealing, and have no grammatical or spelling
errors. It will be due at the end of Lesson 30.
Advance Preparation or Homework Required: Prior to Lesson 26, the teacher should
search for specific career interest inventory web sites. By doing so, the teacher can guide
the student to a specific site the teacher likes and finds useful.
Lesson Wrap-Up: Engage the student in a discussion on this question:
Did you learn anything new about yourself or how your future might unfold?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-1
Begin the unit by explaining the project, broken out into daily Lesson tasks as shown below:
Lesson 26-30
Creating A College Brochure
The student will conduct an internet search for career interest inventories. There are many
available. The student will take the interest inventory, find out which career path matches
with her interests, and begin to search for colleges, universities, or trade schools which will
provide an education in her area of interest.
Conducting the college, university, or trade school search will be done on-line. When the
student has his career path defined (as indicated by the interest inventory results), he can
search for his career path by pairing it with the term “colleges offering degrees in …” Do
not allow the student to research a program which offers on-line degrees only. The student
should research a college which has a campus in a geographic location.
SA
Another source for information about jobs, job training, and education needed to
perform certain jobs is through the government’s website which serves as a handbook
offering information about the outlook for thousands of occupations. Using the key words
occupational, outlook, and handbook should provide helpful results.
PL
M
The student should look for three college, university, or training programs in her area of
interest to research in the next Lesson.
E
Lessons 27 — 30
In these Lessons, the student will have already determined which three institutions of
higher learning he wants to research. He will create a worksheet for each one.
Key Information to include on this Worksheet:
tThe location of the school (city and state), climate and geographic features
of the region;
tWeb address and phone number
tThe size of the school; famous graduates; age of the institution; at least
five degree programs offered at the school; cost of tuition; scholarship
information; housing information; school motto; school mascot; a
description of the campus.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-2
In addition, he will find three additional facts about the school which seem interesting
or important to him, such as “the first University in the U.S. to offer Alternative Medicine
courses”.
In addition, the student will create there specific questions about the institution, then
phone or email the appropriate department to get the answers. Basically, the student
may use all types of communication and correspondence methods to get the information
he needs: telephone, email, conduct an on-line interview, or write a letter asking for
information.
It should take the student two Lessons (Lessons 27 and 28) and part of a third (Lesson 29) to
complete the three Worksheets for the three institutions of higher learning and composing
and asking the three questions of each school.
SA
During Lesson 29, the student should begin designing and creating the brochure advertising
the school of his choice. The brochure should be complete by the end of Lesson 30.
The brochure can be created on the computer or by hand, or by a combination of the two
styles. The following elements must be included:
t Location
M
t Name of the institution
t Two pictures of the institution or its campus
t Degree programs available
PL
t Contact information, including how to begin the enrollment process
t Five reasons why students should choose this school
E
The brochure should be neat, visually appealing, and have no grammatical or spelling
errors. It will be due at the end of Lesson 30.
Advance Preparation or Homework Required: Prior to Lesson 26, the teacher should
search for specific career interest inventory web sites. By doing so, the teacher can guide
the student to a specific site the teacher likes and finds useful.
Lesson Wrap-Up: Engage the student in a discussion on this question:
Did you learn anything new about yourself or how your future might unfold?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-1
Begin the unit by explaining the project, broken out into daily Lesson tasks as shown below:
Lesson 26-30
Creating A College Brochure
The student will conduct an internet search for career interest inventories. There are many
available. The student will take the interest inventory, find out which career path matches
with her interests, and begin to search for colleges, universities, or trade schools which will
provide an education in her area of interest.
Conducting the college, university, or trade school search will be done on-line. When the
student has his career path defined (as indicated by the interest inventory results), he can
search for his career path by pairing it with the term “colleges offering degrees in …” Do
not allow the student to research a program which offers on-line degrees only. The student
should research a college which has a campus in a geographic location.
SA
Another source for information about jobs, job training, and education needed to
perform certain jobs is through the government’s website which serves as a handbook
offering information about the outlook for thousands of occupations. Using the key words
occupational, outlook, and handbook should provide helpful results.
PL
M
The student should look for three college, university, or training programs in her area of
interest to research in the next Lesson.
E
Lessons 27 — 30
In these Lessons, the student will have already determined which three institutions of
higher learning he wants to research. He will create a worksheet for each one.
Key Information to include on this Worksheet:
tThe location of the school (city and state), climate and geographic features
of the region;
tWeb address and phone number
tThe size of the school; famous graduates; age of the institution; at least
five degree programs offered at the school; cost of tuition; scholarship
information; housing information; school motto; school mascot; a
description of the campus.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-2
In addition, he will find three additional facts about the school which seem interesting
or important to him, such as “the first University in the U.S. to offer Alternative Medicine
courses”.
In addition, the student will create there specific questions about the institution, then
phone or email the appropriate department to get the answers. Basically, the student
may use all types of communication and correspondence methods to get the information
he needs: telephone, email, conduct an on-line interview, or write a letter asking for
information.
It should take the student two Lessons (Lessons 27 and 28) and part of a third (Lesson 29) to
complete the three Worksheets for the three institutions of higher learning and composing
and asking the three questions of each school.
SA
During Lesson 29, the student should begin designing and creating the brochure advertising
the school of his choice. The brochure should be complete by the end of Lesson 30.
The brochure can be created on the computer or by hand, or by a combination of the two
styles. The following elements must be included:
t Location
M
t Name of the institution
t Two pictures of the institution or its campus
t Degree programs available
PL
t Contact information, including how to begin the enrollment process
t Five reasons why students should choose this school
E
The brochure should be neat, visually appealing, and have no grammatical or spelling
errors. It will be due at the end of Lesson 30.
Advance Preparation or Homework Required: Prior to Lesson 26, the teacher should
search for specific career interest inventory web sites. By doing so, the teacher can guide
the student to a specific site the teacher likes and finds useful.
Lesson Wrap-Up: Engage the student in a discussion on this question:
Did you learn anything new about yourself or how your future might unfold?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-1
Begin the unit by explaining the project, broken out into daily Lesson tasks as shown below:
Lesson 26-30
Creating A College Brochure
The student will conduct an internet search for career interest inventories. There are many
available. The student will take the interest inventory, find out which career path matches
with her interests, and begin to search for colleges, universities, or trade schools which will
provide an education in her area of interest.
Conducting the college, university, or trade school search will be done on-line. When the
student has his career path defined (as indicated by the interest inventory results), he can
search for his career path by pairing it with the term “colleges offering degrees in …” Do
not allow the student to research a program which offers on-line degrees only. The student
should research a college which has a campus in a geographic location.
SA
Another source for information about jobs, job training, and education needed to
perform certain jobs is through the government’s website which serves as a handbook
offering information about the outlook for thousands of occupations. Using the key words
occupational, outlook, and handbook should provide helpful results.
PL
M
The student should look for three college, university, or training programs in her area of
interest to research in the next Lesson.
E
Lessons 27 — 30
In these Lessons, the student will have already determined which three institutions of
higher learning he wants to research. He will create a worksheet for each one.
Key Information to include on this Worksheet:
tThe location of the school (city and state), climate and geographic features
of the region;
tWeb address and phone number
tThe size of the school; famous graduates; age of the institution; at least
five degree programs offered at the school; cost of tuition; scholarship
information; housing information; school motto; school mascot; a
description of the campus.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-2
In addition, he will find three additional facts about the school which seem interesting
or important to him, such as “the first University in the U.S. to offer Alternative Medicine
courses”.
In addition, the student will create there specific questions about the institution, then
phone or email the appropriate department to get the answers. Basically, the student
may use all types of communication and correspondence methods to get the information
he needs: telephone, email, conduct an on-line interview, or write a letter asking for
information.
It should take the student two Lessons (Lessons 27 and 28) and part of a third (Lesson 29) to
complete the three Worksheets for the three institutions of higher learning and composing
and asking the three questions of each school.
SA
During Lesson 29, the student should begin designing and creating the brochure advertising
the school of his choice. The brochure should be complete by the end of Lesson 30.
The brochure can be created on the computer or by hand, or by a combination of the two
styles. The following elements must be included:
t Location
M
t Name of the institution
t Two pictures of the institution or its campus
t Degree programs available
PL
t Contact information, including how to begin the enrollment process
t Five reasons why students should choose this school
E
The brochure should be neat, visually appealing, and have no grammatical or spelling
errors. It will be due at the end of Lesson 30.
Advance Preparation or Homework Required: Prior to Lesson 26, the teacher should
search for specific career interest inventory web sites. By doing so, the teacher can guide
the student to a specific site the teacher likes and finds useful.
Lesson Wrap-Up: Engage the student in a discussion on this question:
Did you learn anything new about yourself or how your future might unfold?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-1
Begin the unit by explaining the project, broken out into daily Lesson tasks as shown below:
Lesson 26-30
Creating A College Brochure
The student will conduct an internet search for career interest inventories. There are many
available. The student will take the interest inventory, find out which career path matches
with her interests, and begin to search for colleges, universities, or trade schools which will
provide an education in her area of interest.
Conducting the college, university, or trade school search will be done on-line. When the
student has his career path defined (as indicated by the interest inventory results), he can
search for his career path by pairing it with the term “colleges offering degrees in …” Do
not allow the student to research a program which offers on-line degrees only. The student
should research a college which has a campus in a geographic location.
SA
Another source for information about jobs, job training, and education needed to
perform certain jobs is through the government’s website which serves as a handbook
offering information about the outlook for thousands of occupations. Using the key words
occupational, outlook, and handbook should provide helpful results.
PL
M
The student should look for three college, university, or training programs in her area of
interest to research in the next Lesson.
E
Lessons 27 — 30
In these Lessons, the student will have already determined which three institutions of
higher learning he wants to research. He will create a worksheet for each one.
Key Information to include on this Worksheet:
tThe location of the school (city and state), climate and geographic features
of the region;
tWeb address and phone number
tThe size of the school; famous graduates; age of the institution; at least
five degree programs offered at the school; cost of tuition; scholarship
information; housing information; school motto; school mascot; a
description of the campus.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 26, 27, 28, 29 & 30-2
In addition, he will find three additional facts about the school which seem interesting
or important to him, such as “the first University in the U.S. to offer Alternative Medicine
courses”.
In addition, the student will create there specific questions about the institution, then
phone or email the appropriate department to get the answers. Basically, the student
may use all types of communication and correspondence methods to get the information
he needs: telephone, email, conduct an on-line interview, or write a letter asking for
information.
It should take the student two Lessons (Lessons 27 and 28) and part of a third (Lesson 29) to
complete the three Worksheets for the three institutions of higher learning and composing
and asking the three questions of each school.
SA
During Lesson 29, the student should begin designing and creating the brochure advertising
the school of his choice. The brochure should be complete by the end of Lesson 30.
The brochure can be created on the computer or by hand, or by a combination of the two
styles. The following elements must be included:
t Location
M
t Name of the institution
t Two pictures of the institution or its campus
t Degree programs available
PL
t Contact information, including how to begin the enrollment process
t Five reasons why students should choose this school
E
The brochure should be neat, visually appealing, and have no grammatical or spelling
errors. It will be due at the end of Lesson 30.
Advance Preparation or Homework Required: Prior to Lesson 26, the teacher should
search for specific career interest inventory web sites. By doing so, the teacher can guide
the student to a specific site the teacher likes and finds useful.
Lesson Wrap-Up: Engage the student in a discussion on this question:
Did you learn anything new about yourself or how your future might unfold?
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 31-1
Lesson 31
Biography and Autobiography
Often in life, we have many obstacles. We set goals and we have dreams that take work
and determination to achieve. Luckily, we have resources like family and friends to help
us along the way. In the next few readings, you will learn about others who had struggles
and how they overcame them.
Making Connections:
Brainstorm several goals you have set for yourself, accomplished or not. When you finish,
choose one and follow the steps below.
1. What is one goal that you had set for yourself?
SA
2. Did you achieve that goal or not?
3. What were some obstacles that stood in your way?
4. What resources were available to help you?
Taking Notes:
M
5. Offer advice to a friend who may be working to achieve a goal. Be sure
to use encouraging words.
What is a biography?
PL
As you move on in this unit, make sure you have your notebook handy. Set up a Cornell
note page for this biography unit. Make sure to include Key Vocabulary words and facts
about the genre.
E
A biography is the story of a person’s life, which is written by another person. Biographies
are written about real people and the events of their lives. Biographies tell us how others
were able to achieve their hopes and dreams, and also about the obstacles that stood in
their way. Biographies are usually written posthumously, meaning after the person has
passed away. There are biographies of those who are still living however.
What is an autobiography?
An autobiography is about a real person, real events and real time, but written by the
person who experienced it. The author tells his or her own story. Different types of
autobiographies include journals, diaries, letters and memoirs.
Why should I read them?
Reading about the experiences of others is fun! You can also learn from their experiences.
You can learn about the times in which they lived, and how they made their choices.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 31-2
How do I read biographies?
Make connections: As you read, think about an experience that you or someone you know
has had.
Make inferences: Use the information given to guess what the author is really trying to
tell you.
Sequencing: As you read, look for key words to tell you the order in which the events
happened. Be careful to watch out for flashbacks and foreshadowing. These are often
techniques authors use to set the tone of their writings.
Literary Terms to Know
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t1PJOUPG7JFX5IFQFSTQFDUJWFGSPNXIJDIUIFTUPSZJTCFJOHUPME
t'JSTU1FSTPO4PNFPOFUFMMTIJTPSIFSPXOTUPSZVTJOHUIFXPSEi*w
t5IJSE1FSTPO5IFTUPSZJTUPMEGSPNUIFQPJOUPGWJFXPGBOPVUTJEFSVTJOH
the words “he,” “she,” or “it.”
t4FUUJOH5JNFBOEQMBDFPGUIFTUPSZ
SA
M
Note Check: Answer the following questions using complete sentences.
PL
1. What is a biography?
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 31-3
2. What is an autobiography?
SA
3. Why is it important to activate your prior knowledge during your reading time?
PL
M
E
4. What can you learn while reading biographies and autobiographies?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 31-4
Now that you have learned about biographies, it is time to read a short biography of a
famous person of your choice. The person can be a historical person or one who is still alive
today. Look up the person in an encyclopedia. It can be an electronic encyclopedia or a
traditional book. Read about the person’s life and accomplishments. Take notes as you read
using the Cornell notes. Submit the notes to your teacher.
If time permits, look up a second person, also taking Cornell notes.
Lesson Wrap-Up: You are beginning a unit on biographies. Reading about people’s lives
is fascinating. Some people prefer reading biographies to fiction. The lives of others can
be filled with amazing events, anecdotes, and stories. Biographies are especially appealing
because they are about real people and events. If you can read a biography about someone
who especially interests you, nothing can be more compelling.
SA
PL
M
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 32-1
Lesson 32
Who is Florence Nightingale?
In this Lesson you will begin reading a biography about a famous nurse, Florence
Nightingale. During the course of the reading, you will be asked to answer questions to
demonstrate comprehension. These questions are in the Stop Reading sections. You may
wish to scan the questions, to guide your reading.
When you have finished the reading, answer the following Comprehension Questions.
Comprehension Questions
What are three things you learned from today’s reading?
SA
M
PL
What are two things that surprised you?
E
What is one thing you want to learn more about?
Challenge: Find information about Florence Nightingale on the Internet. Compare the
information to what you read today. Can you find any additions?
Lesson Wrap-Up: Summarize why you think Florence Nightingale ended up making such
contributions to nursing.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 32-2
Florence Nightingale (1820-1910)
Of the early and private life of Florence Nightingale there is no need to speak, but you should
know what good work she has done for her country, how she left her English home to go and
nurse the poor soldiers who were wounded in battle in the Crimea, and how well she did the work
that she undertook to do. Not only did she work out of England, but in England she has improved
some of our hospitals, taught some of our English nurses how to work better, and has made
nursing into the happier labor it is now, instead of the drudgery it was too often before.
STOP READING
Why is it important to read about Florence Nightingale?
SA
PL
M
E
She was born in Florence in 1820, and therefore named after that town, but her home was always
in Derbyshire. She was always fond of nursing, and her early ambition was to improve the system
of nursing, and to get many things done that she saw would make pain and suffering more
bearable in our English hospitals.
Now in Germany, in a little village on the great Rhine, is a large building where women are trained
as nurses for sick people. They all wear full black skirts and very white aprons, deep white collars
and caps, and all the sick people come from the village and villages round to be nursed by them.
There was no training-school for women in England, so it was to this kind of hospital home that
Florence Nightingale went in 1851, and there she worked for three months. They were three happy
months, and she learned the best German rules of nursing, and saw how a large hospital ought
to be managed; and so she got some of the training which fitted her for the great work which she
undertook some years later. On her return to England, she became head of a London hospital for
women.
But before you hear about her work, and how she nursed our soldiers, you must know about the
war in the Crimea, how our soldiers were wounded, and why they wanted good nursing.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 32-3
STOP READING
Make an inference: Why would the Crimean War have an effect on Florence’s career choice?
SA
PL
M
For several years a dispute had been going on between Russia and Turkey, and at last Russia
pushed her troops into Turkey, and Turkey declared war. England and France had promised
some time before to help Turkey if she needed help, and now they found themselves at war.
English and French steamers kept hurrying backwards and forwards from the Black Sea to try
and make peace;—but it was impossible; so armies were sent, and Lord Raglan, who had lost one
arm at Waterloo, fighting under the great Duke of Wellington, was given the command of the
English army. Now at the south of Russia is a peninsula called the Crimea, and the allied armies
of England, France, and Turkey knew that if they could take a large town in the Crimea called
Sebastopol, the Russian fleet in the Black Sea would be rendered powerless for a long time. So
they chose this town for their attack. But they were divided from it by the river Alma, and here
the Russian army was posted in great strength on a line of steep rocky hills on the other side of
the river. They thought that the English and French would never dare to cross the river in the face
of their fire. But the allied armies were very brave. The order was given to cross the river; the men
waded the stream, and, under a deadly fire from the Russians, they scaled the heights bravely. The
Russians were brave, but badly commanded, and before long they fled, leaving the allied armies
victorious. The English had fought their first battle, gained their first victory in the Crimea, and a
loud British cheer rose from the troops as they stood on the well-won heights, and struck terror
into the hearts of the retreating Russians. Our soldiers had fought nobly, but three thousand lay
dead or wounded on the field of battle.
E
Great were the rejoicings in England when news of the victory arrived, but the joy was mixed with
sorrow at the terrible accounts of the English soldiers who were wounded so badly on the field.
All night the doctors worked, trying to dress their wounds, and relieve their pain, and have them
carried to hospitals and tents. But the work was enormous, and there were not enough doctors
to perform it, and no proper nurses to take charge of the hospitals. The cry for doctors and
nurses reached England, and England responded readily to the call. Many Englishwomen offered
themselves to go out and nurse the sick soldiers, and their offer was accepted by the Government.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 32-4
STOP READING
Whoa! That was a lot of information. Summarize what happened in the previous two
paragraphs.
SA
PL
M
E
One of the first to volunteer was Miss Nightingale, and owing to her great experience she was
entrusted with choice of nurses, and the leadership of them. It was a difficult matter to choose
the fittest nurses out of the many who offered themselves, but at last the work was done, and one
October day Miss Nightingale and thirty-seven nurses left Folkestone by steamer for the East.
They were received by a crowd at Boulogne to wish them “God speed” on their mission, and then
some of the chief citizens entertained them at dinner. The fisherwomen of Boulogne in their plain
bright skirts and colored shawls, carried all the luggage themselves up from the steamer, amid the
cheers of the people.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 32-5
All through France the nurses were received with sympathy and respect; for France and England
were joined in a common cause, and France had already sent out nurses for their sick soldiers.
Then Miss Nightingale and her little band sailed from Marseilles to Constantinople. They had a
very stormy passage, but arrived at Constantinople on November 4th, 1854, on the eve of another
great battle.
STOP READING
Florence Nightingale was given many honors for being a nurse. Do you know someone
who is in the medical profession? How does that person compare to Florence? How does
he or she differ?
SA
PL
M
E
PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-1
Lesson 33
Who is Florence Nightingale?
In Lesson 33, you resume with the story of Florence Nightingale from the point where
you stopped in the previous Lesson. When you have fished reading, you will complete the
following activity.
Activity: Research Florence Nightingale on the Internet. Find out how her work has
influenced those in the nursing field throughout the years. Write a short essay titled “The
Influences of Florence Nightingale.” Use your notes from this reading to help you as well.
SA
Be sure to include an introductory paragraph stating the essay’s focus or main point.
The essay should discuss at least two ways that Miss Nightingale influenced nursing. Use
transition words, such as: next, also, in addition, and finally. Using transition words helps
your writing to flow logically from one point to the next. Include a conclusion paragraph
which sums up the essay and makes its final points.
PL
M
Lesson Wrap-Up: Once you have finished reading about Florence Nightingale and a
period of history that is most likely new to you, think about how different the world is
now from the days of Florence’s contributions to medicine. Also consider the personality
and character of Florence. Does she remind you of anyone you know?
E
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-2
Florence Nightingale (1820 – 1910)
The battle of Balaclava—made famous by the Charge of the Light Brigade, in which so many
brave lives were lost through a mistaken order—was over, but November 5th, the day after Miss
Nightingale arrived, was to be made famous by another splendid victory over the Russians.
SA
It was a misty winter morning, and the day had hardly dawned, when the Russians advanced,
sure of victory, to the plateau of Inkermann, where a scanty British force was collected. So thick
was the fog that the English knew nothing till, in overwhelming numbers, the Russians appeared
pressing up the hill. At once the fighting began, and the soldiers bravely kept their post, driving
back the Russians time after time as they mounted the slopes. All day the battle lasted, and the
English were getting exhausted when a French army arrived, and the Russians were soon in
full retreat, having been beaten by an army taken unawares and only a fourth part of their own
number. This battle is famous because the soldiers, not the generals, won the day.
The wounded soldiers were taken to the hospital at Scutari, where Miss Nightingale had only just
arrived.
M
PL
The hospital was already full; two miles of space were occupied by beds, and there were over two
thousand sick and wounded soldiers. Then the wounded from Inkermann were brought across
the water, and landed at the pier; those who could, walked to the great barrack hospital; those who
were too badly hurt to walk were carried on stretchers up the steep hill leading to the hospital.
It was a large square building outside, and inside were large bare wards with rows and rows of
closely packed beds. There seemed no room for the heroes of Inkermann, but beds were made up
all along the passages as close as possible, and the wounded men were laid in them.
E
It was a cheering sight to the sick soldiers to see Miss Nightingale and the nurses moving about
the wards. They all wore aprons, and bands with “Scutari Hospital” marked on them, plain skirts
and white caps. The men had never been nursed by women before, only by men, some of them
very rough, some knowing nothing of sickness and unable to dress their wounds. But these nurses
moved about from bed to bell, quickly and quietly, attending to each sufferer in turn, and working
for hours and hours with no rest. Some of the soldiers were too ill even to know where they were,
until they slowly returned to life, and found themselves no longer lying on the battle-field, but in
the hospital, being cared for and looked after by Miss Nightingale or one of her band. The nurses
had a hard time of it; the Turkish bread was so sour they could hardly eat it; what butter they had
was bad, and the meat, one of them said, “was more like moist leather than food.”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-3
But they worked on through the day, often through the night as well, carrying out the doctor’s
orders, giving medicine, supplying lint and bandages, and giving lemonade to the thirsty soldiers.
There was barely room to pass between the beds,—so closely were they packed. Here and there a
little group of doctors would stand over a bed talking over a bad case, while those soldiers who
could walk would go to the bed of a comrade, to help pass some of the long hours away.
STOP READING
Given the conditions of the hospitals, why do you think Miss Nightingale was able to
maintain her cheery disposition? What does this say about Miss Nightingale?
SA
PL
M
E
The winter was bitterly cold. The men on the bleak heights before Sebastopol were only half fed,
their clothes were in rags, they had to sleep on the damp ground, and toil for many hours every
day in the trenches ankle deep in water and mud. Many hundreds died, many more sickened,
and were taken to the hospital. Besides the large kitchen which supplied all the general food,
the nurses had another, where jelly, arrowroot, soup, broth, and chickens were cooked for those
who were too ill to eat the usual hospital fare. Here Miss Nightingale would cook herself, if
there were some urgent case, and with her own hands feed the sick and dying men. She had a
great power of command over the soldiers; many a time her influence helped a wounded man
through the dreaded operations. He would sooner die than meet the knife of the surgeon. Then
Miss Nightingale would encourage him to be brave, and, while she stood beside him, he, with
lips closely set and hands folded, set himself for her sake to endure the necessary pain. And the
soldiers would watch her gliding down the wards, and long for their turn to come, when she
would stand by their special bed and perhaps speak some special word to them.
Then the men under her, the orderlies who had to obey her in everything, did it without a
murmur.
“During all that dreadful period” not one of them failed her in devotion, obedience, ready
attention; for her sake they toiled and endured, as they would not have toiled and endured for
anyone else.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-4
“Never,” she said, “never came from any one of them a word or look which a gentleman would not
have used,” and the tears would come into her eyes as she thought how amid those terrible scenes
of suffering, disease, and death, these men, accustomed to use bad language, perhaps to swear,
never once used a bad expression which might have distressed her—their “Lady in Chief.” But
Miss Nightingale had very uphill work; among other things, when she first went to the hospital,
she found there was no laundry, and only seven shirts had been washed belonging to the soldiers;
so she had a laundry formed as soon as possible, and there was a grand improvement in the
cleanliness of the hospital.
One December day great excitement ran through the wards of the great Scutari hospital, when it
became known that a letter from the Queen had arrived.
SA
“I wish,” wrote the Queen, “Miss Nightingale and the ladies to tell these poor noble wounded and
sick men, that no one takes a warmer interest, or feels more for their sufferings, or admires their
courage and heroism more than their Queen. Day and night she thinks of her beloved troops.”
Copies of this letter were made, and read aloud in each ward, and as the last words, followed
by “God save the Queen,” were uttered, a vigorous “Amen” rose from the sick and dying men.
They liked the Queen’s sympathy, and they loved to think, in that far off land, that England was
thinking of them.
M
PL
The rejoicings in the wards over an English newspaper were great; small groups of soldiers would
collect round the stove, while one would stand in the middle, perhaps with only one arm, or
his head bound up, and read to his eager listeners the news of England and the news of the war,
which was still being waged around them, and in which they were keenly interested. For the long
siege of Sebastopol, in which many of them had taken part, was still going on. In the spring came
the unexpected news of the death of Nicholas, Emperor of Russia. “Nicholas is dead—Nicholas is
dead!” was murmured through the wards, and the news travelled quickly from bed to bed.
E
“How did he die?” cried some. “Well,” exclaimed one soldier, “I’d rather have that news than a
month’s pay!” One man burst into tears, and slowly raising his hands, he clasped them together,
and sobbed out “Thank God!”
In the summer Miss Nightingale went to visit the camp hospitals near Balaclava and to take some
nurses there. She rode up the heights on a pony, while some men followed with baggage for the
hospitals, and she was warmly greeted by the sick soldiers. A little later she was seized with fever,
and carried on a litter to one of the hut hospitals, where she lay for some time in high fever. When
at last she was well enough to be moved, she was carried down and placed on board a vessel
bound for England. But she felt there was more work to be done, and though still weak and ill she
returned to her post at the Barrack Hospital.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-5
STOP READING
Why did Miss Nightingale insist upon returning to work, when she herself was not well?
Would you do the same thing? Why or why not?
SA
M
In the autumn of 1855 the interest among the soldiers became intense, as it was known that
Sebastopol could not hold out much longer.
PL
E
At last in September it was announced that Sebastopol was a heap of ruins. The effect in the wards
was electric. “Sebastopol has fallen,” was the one absorbing thought. Dying men sat up in their
beds, and clasped their hands, unable to utter more than the one word “Sebastopol.” “Would that I
had been in at the last,” murmured one, wounded while the siege was yet going on.
With the fall of Sebastopol the war was at an end and peace was signed the following spring. But
Miss Nightingale still remained at Scutari, till the English had finally left Turkey in the summer
of 1856. England had resolved to give her a public welcome, but she shrank from it, and quietly
arrived at her home in Derbyshire unrecognized. But England wanted to show her gratitude to
her in some way for the good work she had done, and the soldiers wanted to share. So a fund was
started, called the “Nightingale Fund.” And very heartily did all join in the home movement. The
soldiers, both those who were wounded and those who were not, gave all they could, so universal
was the feeling of thankfulness and gratitude to Miss Nightingale, who had given up so much for
their sakes, and risked her life to ease their sufferings and cheer their long hours of pain.
At Miss Nightingale’s special wish the Fund was devoted to the formation of a training school
for nurses at St. Thomas’s Hospital in London. For up to this time no woman could be properly
trained in England, and there were not many who could afford to go to the training home on the
Rhine in Germany.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-6
The Queen presented Miss Nightingale with a beautiful jewel; it was designed by the Prince
Consort; the word “Crimea” was engraved on it, and on the back were the words, “To Florence
Nightingale, as a mark of esteem and gratitude for her devotion towards the Queen’s brave
soldiers. From Victoria R., 1855.”
In 1858 she wrote a book called “Notes on Nursing,” and it soon became very popular; in it she
tries to show how much harm is done by bad nursing.
SA
“Every woman,” she says, “or at least almost every woman in England has at one time or another
of her life charge of the personal health of somebody, in other words every woman is a nurse.”
And then she tells the women of England, what a good nurse ought to be, how quiet and clean,
how obedient to the doctor’s orders, how careful about food and air. “Windows are made to open,
doors are made to shut,” she remarks, and if nurses remembered this oftener, it would be better
and happier for their patients.
M
But her life was chiefly lived in those two years at the Scutari hospital; the many difficulties she
met with at first, the struggle against dirt and bad food, the enormous amount of extra work to be
got through in the day because others would not do their full share, the terribly anxious cases she
had to nurse,—all these told on her health.
PL
“I have been a prisoner to my room from illness for years,” she tells us, but she did more good,
brave, noble work in those two years than many a woman has done in a lifetime.
STOP READING
E
What has Florence Nightingale contributed to the profession of nursing? How can nurses
today learn from her?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 33-7
One of our poets has written about Miss Nightingale. He was reading one night of the “great army
of the dead” on the battle-fields of the Crimea,
“The wounded from the battle plain
In dreary hospitals of pain,
The cheerless corridors,
The cold and stony floors,”
and as he pictured this desolate scene, he seemed to see a lady with a little lamp moving through
the “glimmering gloom,” softly going from bed to bed; he saw the “speechless sufferer” turn to kiss
her shadow, as it fell upon the darkened walls. And then he adds:
SA
“A Lady with a Lamp shall stand
In the great history of the land,
A noble type of good,
Heroic Womanhood.”
Stop Reading
M
What does the poet mean when he refers to “Heroic Womanhood” as a noble good?
PL
E
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 34-1
Lesson 34
Responding to Literature
Literature provokes different responses from everyone. As we read, we become invested
in the literature and often respond emotionally. Emotional responses often make a lasting
impression, but can be hard to share with others.
Written responses allow you to discuss the value of a book, short-story, poem, or
biography. One written response may be a retelling of the plot in which you identify
main characters, main events and story ending. Another response to literature is making
a judgment about the value of the work. For example, after you read a biography about
Abraham Lincoln, you can determine whether of not the book has biases or is a good
source of information.
SA
When responding to literature, you should include the following:
t Focused thoughts about the writing
t Clear support for the main ideas
t A complete summary of the work
M
t Organized ideas and details that support the validity of the work
How do I respond to literature?
PL
The most common types of literary responses are essays, book reviews, and comparison of
works.
Essays: The standard five paragraph model includes an introduction with a thesis
statement, three body paragraphs and a conclusion paragraph.
E
The five paragraph essay is a standard, formulaic piece of writing. Every student needs to
master this style of writing to successfully write for high school and college courses. The
five paragraph essay is not difficult to write. Yet becoming expert at this type of writing is
necessary for achieving success in your future academic career.
The essay begins with an introductory paragraph. The introduction tells what your essay’s
main point is. It will include a thesis statement which expresses your primary point. The
introductory paragraph tells the reader what will be discussed in the essay. The reader will
know what to expect in the succeeding paragraphs because you will tell the reader what
points you will be making.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 34-2
The body of the essay consists of three paragraphs. Each paragraph will discuss one main
point backing up your thesis statement. The topic sentence of each paragraph tells the
reader what the paragraph will be discussing. Several supporting sentences explain,
define, or give substance to the topic sentence. The paragraph will end with a concluding
sentence, which sums up the main point of the paragraph. Often, the concluding sentence
restates the topic sentence in a slightly different way.
The conclusion paragraph ties all of the main ideas together. Usually the thesis statement is
repeated. The paper should end with a thought provoking statement.
Let’s consider a sample topic for a five paragraph essay. Let’s say you are writing an essay
about the disadvantages of smoking cigarettes. The first paragraph, the introduction,
would state that smoking is harmful to health. It might say that smoking injures the
smoker’s health, the health of people exposed to second hand smoke, and that smoking is
also an economic hardship.
SA
The second paragraph, the first body paragraph, would be devoted to the fact that
smoking injures the smoker’s health. Supporting sentences would talk about the risk
factors of smoking and the potential impact smoking has on a person’s health.
M
The third paragraph, the second body paragraph, would discuss the hazards of smoking
for people who breathe second hand smoke. Supporting sentences would give examples
of problems experienced by people who are in the vicinity of smokers and breathe their
smoke.
PL
The fourth paragraph, the third body paragraph, would discuss the expense of smoking. It
would add up the cost of cigarettes over one year, over several years, over a lifetime, and
discuss the impact smoking has on a person’s financial health.
E
The conclusion paragraph forms the last paragraph of the essay. It will restate the thesis
statement, or statement defining what the paragraph will discuss. The conclusion ties the
main points together and makes a final statement about the main idea of the essay.
Book reviews: Written from the perspective of the reader, book reviews give a general
overview of the book. The reviews either encourage or discourage people from reading
the piece.
Comparison of works: Reading works that are of similar topics allows that reader to
make comparisons. For example: Reading The Diary of Anne Frank, and Zalata’s Story.
Both books are about the Holocaust, but each has a different tale to tell and each has a
different outcome.
Key Strategy for Successful Responses: Identify Evidence
When responding to literature or another work, the writer is responsible for showing
evidence from the text. Using the details that the author provides about the topic is a
great way to begin. Once you have gathered details from the writing, you are ready to
begin your own!
STUDENT MANUAL
LANGUAGE ARTS — LESSON 34-3
Try it out! Now that you have been given some strategies, brainstorm a topic to write
about. The following questions will help you out.
1. Think about your favorite type of literature to read. Give examples.
2. Who is your favorite character from a book that you have read? If you could be that
character for one day, what would you do? Would you act differently than the
character did? Would you change the outcome of the book?
3. Think of specific examples of your favorite character’s actions. Make sure you use them.
You are ready to write! You will write a response to literature by creating a five
paragraph essay. Write the essay by responding to a book or story you have read. It
may be a work you have read for this class, or it could be something you have read for a
previous class. It could also be a book you have read independently.
SA
The main point of your essay will be whether you did or did not like the piece of writing.
Your body paragraphs will make your point. Do this by adding details and evidence from
the text to support your point of view. The conclusion paragraph will sum up your opinion
and make a final statement about your opinion for your reader.
Turn in a rough draft and a final copy of the five paragraph essay to your teacher. The final
copy should show evidence of change and improvement.
M
You will be given the opportunity later in this course to write a comparison piece and a
book review.
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 34-4
Rubric for Assessment
SA
PL
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Lesson Wrap-Up: This has been a milestone Lesson for you. Learning how to write a five
paragraph essay is a useful skill for speaking and writing. When speaking, being able to
focus on a topic and support that topic with examples and evidence, is important in order
to make sure you are getting your point across. When writing, whether it is a short five
paragraph composition, or a lengthy term paper, expressing your main idea in a thesis
statement, supporting it with details, and reinforcing it with a conclusion helps you “sell”
your position to your readers, and your teacher who will be grading it.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-1
Lesson 35
The Story of My Life
by Helen Keller
Imagine waking up one day, and not being able to see or hear. That is exactly what
happened to Helen Keller. When Helen was about one and a half years old, she became
extremely ill. As a result of the fevers and sickness, she lost both her sight and hearing.
Growing up in Tuscumbia, Alabama was difficult for Helen, but she was determined to live
life the best she could. When she was seven, she was introduced to a woman named Anne
Sullivan. Sullivan came to Helen’s home to teach her how to speak and read. It was the
determination of both Helen and Ms. Sullivan that allowed Helen to reach her goals.
SA
Please begin reading The Story of My Life written by Keller herself to find out more details.
As you are reading, look for the highlighted Vocabulary words. You may want to look up
the affixes of the words to help your understanding of them. Add the context sentence to
your Cornell notes along with your explanation of what the word means in the sentence.
Then use the word correctly in an original sentence. You will be tested on Vocabulary!
M
When you have finished reading, answer the following Summary Questions.
Chapter One Summary Questions:
PL
Which Civil War General was Helen Keller related to?
E
Helen Keller had a famous Swiss ancestor, Caspar Keller. What did Caspar do that was
significant to his being mentioned in her story?
Where and when was Helen Keller born?
Helen contracted an illness when she was 19 months old which led to her deafness and
blindness. What was she diagnosed with?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-2
What was Helen Keller’s home nicknamed? Why?
Infer: In the beginning of this chapter, Keller wrote that “there is no king who has not had
a slave among his ancestors, and no slave who has not had a king among his.” What does
this quote mean? Why would Helen have put it in her autobiography?
SA
PL
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Evidence: Write at least three facts or quotes from Chapter One that you found interesting.
You may use these for a later writing assignment.
E
Lesson Wrap-Up: You have begun Helen Keller’s life story. Her life, which began over
one hundred years ago, was very different than the lives we live in twenty-first century
America. Yet that is not what makes her story special. The way she overcame her disability,
her courage, and her pioneer spirit are what make Helen Keller an inspiring role model for
all who have obstacles to overcome. In other words, she is an inspiration to everyone.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-3
The Story of My Life
by Helen Keller
Part One: Chapter One
SA
It is with a kind of fear that I begin to write the
history of my life. I have, as it were, a superstitious
hesitation in lifting the veil that clings about my
childhood like a golden mist. The task of writing
an autobiography is a difficult one. When I try to
classify my earliest impressions, I find that fact
and fancy look alike across the years that link the
past with the present. The woman paints the child’s
experiences in her own fantasy. A few impressions
stand out vividly from the first years of my life; but
“the shadows of the prison-house are on the rest.”
Besides, many of the joys and sorrows of childhood
have lost their poignancy; and many incidents of
vital importance in my early education have been
forgotten in the excitement of great discoveries.
In order, therefore, not to be tedious I shall try to
present in a series of sketches only the episodes
that seem to me to be the most interesting and
important.
PL
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STOP READING
E
Inference: After reading Helen’s opening paragraph to her life’s story, what kind of
person do you think she is?
I was born on June 27, 1880, in Tuscumbia, a little town of northern Alabama. The family on my
father’s side is descended from Caspar Keller, a native of Switzerland, who settled in Maryland.
One of my Swiss ancestors was the first teacher of the deaf in Zurich and wrote a book on the
subject of their education--rather a singular coincidence; though it is true that there is no king
who has not had a slave among his ancestors, and no slave who has not had a king among his.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-4
My grandfather, Caspar Keller’s son, “entered” large tracts of land in Alabama and finally settled
there. I have been told that once a year he went from Tuscumbia to Philadelphia on horseback to
purchase supplies for the plantation, and my aunt has in her possession many of the letters to his
family, which give charming and vivid accounts of these trips.
My Grandmother Keller was a daughter of one of Lafayette’s aides, Alexander Moore, and
granddaughter of Alexander Spotswood, an early Colonial Governor of Virginia. She was also
second cousin to Robert E. Lee.
SA
My father, Arthur H. Keller, was a captain in the Confederate Army, and my mother, Kate Adams,
was his second wife and many years younger. Her grandfather, Benjamin Adams, married Susanna
E. Goodhue, and lived in Newbury, Massachusetts, for many years. Their son, Charles Adams, was
born in Newburyport, Massachusetts, and moved to Helena, Arkansas. When the Civil War broke
out, he fought on the side of the South and became a brigadier-general. He married Lucy Helen
Everett, who belonged to the same family of Everett’s as Edward Everett and Dr. Edward Everett
Hale. After the war was over the family moved to Memphis, Tennessee.
PL
M
I lived, up to the time of the illness that deprived me of my sight and hearing, in a tiny house
consisting of a large square room and a small one, in which the servant slept. It is a custom in the
South to build a small house near the homestead as an annex to be used on occasion. Such a house
my father built after the Civil War, and when he married my mother they went to live in it. It was
completely covered with vines, climbing roses and honeysuckles. From the garden it looked like
an arbor. The little porch was hidden from view by a screen of yellow roses and Southern smilax. It
was the favorite haunt of humming-birds and bees.
E
The Keller homestead, where the family lived, was a few steps from our little rose-bower. It was
called “Ivy Green” because the house and the surrounding trees and fences were covered with
beautiful English ivy. Its old-fashioned garden was the paradise of my childhood.
Even in the days before my teacher came, I used to feel along the square stiff boxwood hedges,
and, guided by the sense of smell would find the first violets and lilies. There, too, after a fit of
temper, I went to find comfort and to hide my hot face in the cool leaves and grass. What joy it
was to lose myself in that garden of flowers, to wander happily from spot to spot, until, coming
suddenly upon a beautiful vine, I recognized it by its leaves and blossoms, and knew it was the
vine which covered the tumble-down summer-house at the farther end of the garden! Here, also,
were trailing clematis, drooping jessamine, and some rare sweet flowers called butterfly lilies,
because their fragile petals resemble butterflies’ wings. But the roses--they were loveliest of all.
Never have I found in the greenhouses of the North such heart-satisfying roses as the climbing
roses of my southern home. They used to hang in long festoons from our porch, filling the whole
air with their fragrance, untainted by any earthy smell; and in the early morning, washed in the
dew, they felt so soft, so pure, I could not help wondering if they did not resemble the asphodels of
God’s garden.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-5
The beginning of my life was simple and much like every other little life. I came, I saw, I conquered,
as the first baby in the family always does. There was the usual amount of discussion as to a name
for me. The first baby in the family was not to be lightly named, every one was emphatic about
that. My father suggested the name of Mildred Campbell, an ancestor whom he highly esteemed,
and he declined to take any further part in the discussion. My mother solved the problem by
giving it as her wish that I should be called after her mother, whose maiden name was Helen
Everett. But in the excitement of carrying me to church my father lost the name on the way, very
naturally, since it was one in which he had declined to have a part. When the minister asked him
for it, he just remembered that it had been decided to call me after my grandmother, and he gave
her name as Helen Adams.
SA
I am told that while I was still in long dresses I showed many signs of an eager, self-asserting
disposition. Everything that I saw other people do I insisted upon imitating. At six months I could
pipe out “How d’ye,” and one day I attracted every one’s attention by saying “Tea, tea, tea” quite
plainly. Even after my illness I remembered one of the words I had learned in these early months.
It was the word “water,” and I continued to make some sound for that word after all other speech
was lost. I ceased making the sound “wah-wah” only when I learned to spell the word.
PL
M
They tell me I walked the day I was a year old. My mother had just taken me out of the bath-tub
and was holding me in her lap, when I was suddenly attracted by the flickering shadows of leaves
that danced in the sunlight on the smooth floor. I slipped from my mother’s lap and almost ran
toward them. The impulse gone, I fell down and cried for her to take me up in her arms.
E
These happy days did not last long. One brief spring, musical with the song of robin and mockingbird, one summer rich in fruit and roses, one autumn of gold and crimson sped by and left their
gifts at the feet of an eager, delighted child. Then, in the dreary month of February, came the illness
which closed my eyes and ears and plunged me into the unconsciousness of a new-born baby.
They called it acute congestion of the stomach and brain. The doctor thought I could not live. Early
one morning, however, the fever left me as suddenly and mysteriously as it had come. There was
great rejoicing in the family that morning, but no one, not even the doctor, knew that I should
never see or hear again.
I fancy I still have confused recollections of that illness. I especially remember the tenderness
with which my mother tried to soothe me in my waling hours of fret and pain, and the agony and
bewilderment with which I awoke after a tossing half sleep, and turned my eyes, so dry and hot, to
the wall away from the once-loved light, which came to me dim and yet more dim each day. But,
except for these fleeting memories, if, indeed, they be memories, it all seems very unreal, like a
nightmare. Gradually I got used to the silence and darkness that surrounded me and forgot that it
had ever been different, until she came--my teacher--who was to set my spirit free. But during the
first nineteen months of my life I had caught glimpses of broad, green fields, a luminous sky, trees
and flowers which the darkness that followed could not wholly blot out. If we have once seen, “the
day is ours, and what the day has shown.”
PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-6
Lesson 36
The Story of My Life
by Helen Keller
Continue reading Chapter Two. Look for your Vocabulary words and follow the same
procedure as in Lesson 35.
When you have finished reading, answer the following Summary Questions.
Chapter Two Summary Questions:
What was the name of Helen’s over-abused doll?
SA
Helen had never experienced a great sorrow until what event took place?
M
PL
What was Helen’s relationship with her mother like?
How did her mother influence her early learning?
E
Helen has a childhood friend, Martha Washington. What role did Martha play in Helen’s
learning to socialize? How did they communicate?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-7
Infer: Thinking about Helen and her stubborn side, do you think her disabilities allowed
her to behave this way? Was she spoiled by her parents? If left untaught, what would
she have been like?
Lesson Wrap-Up: Helen is growing up to be an undisciplined child. Think about little
children you know and how they are taught to follow rules and acquire manners. Then,
consider the difficulties with which Helen’s parents were faced.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-8
The Story of My Life
by Helen Keller
Part One: Chapter Two
SA
I cannot recall what happened during the first months after my illness. I only know that I sat in
my mother’s lap or clung to her dress as she went about her household duties. My hands felt every
object and observed every motion, and in this way I learned to know many things. Soon I felt the
need of some communication with others and began to make crude signs. A shake of the head
meant “No” and a nod, “Yes,” a pull meant “Come” and a push, “Go.” Was it bread that I wanted?
Then I would imitate the acts of cutting the slices and buttering them. If I wanted my mother to
make ice-cream for dinner I made the sign for working the freezer and shivered, indicating cold.
My mother, moreover, succeeded in making me understand a good deal. I always knew when
she wished me to bring her something, and I would run upstairs or anywhere else she indicated.
Indeed, I owe to her loving wisdom all that was bright and good in my long night.
PL
M
I understood a good deal of what was going on about me. At five I learned to fold and put away
the clean clothes when they were brought in from the laundry, and I distinguished my own
from the rest. I knew by the way my mother and aunt dressed when they were going out, and
I invariably begged to go with them. I was always sent for when there was company, and when
the guests took their leave, I waved my hand to them, I think with a vague remembrance of the
meaning of the gesture. One day some gentlemen called on my mother, and I felt the shutting of
the front door and other sounds that indicated their arrival. On a sudden thought I ran upstairs
before any one could stop me, to put on my idea of a company dress. Standing before the mirror,
as I had seen others do, I anointed mine head with oil and covered my face thickly with powder.
Then I pinned a veil over my head so that it covered my face and fell in folds down to my
shoulders, and tied an enormous bustle round my small waist, so that it dangled behind, almost
meeting the hem of my skirt. Thus attired I went down to help entertain the company.
E
I do not remember when I first realized that I was different from other people; but I knew it before
my teacher came to me. I had noticed that my mother and my friends did not use signs as I did
when they wanted anything done, but talked with their mouths. Sometimes I stood between two
persons who were conversing and touched their lips. I could not understand, and was vexed. I
moved my lips and gesticulated frantically without result. This made me so angry at times that I
kicked and screamed until I was exhausted.
I think I knew when I was naughty, for I knew that it hurt Ella, my nurse, to kick her, and when
my fit of temper was over I had a feeling akin to regret. But I cannot remember any instance
in which this feeling prevented me from repeating the naughtiness when I failed to get what I
wanted.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-9
In those days a little colored girl, Martha Washington, the child of our cook, and Belle, an
old setter, and a great hunter in her day, were my constant companions. Martha Washington
understood my signs, and I seldom had any difficulty in making her do just as I wished. It pleased
me to domineer over her, and she generally submitted to my tyranny rather than risk a handto-hand encounter. I was strong, active, indifferent to consequences. I knew my own mind well
enough and always had my own way, even if I had to fight tooth and nail for it. We spent a great
deal of time in the kitchen, kneading dough balls, helping make ice-cream, grinding coffee,
quarreling over the cake-bowl, and feeding the hens and turkeys that swarmed about the kitchen
steps. Many of them were so tame that they would eat from my hand and let me feel them. One
big gobbler snatched a tomato from me one day and ran away with it. Inspired, perhaps, by Master
Gobbler’s success, we carried off to the woodpile a cake which the cook had just frosted, and ate
every bit of it. I was quite ill afterward, and I wonder if retribution also overtook the turkey.
SA
The guinea-fowl likes to hide her nest in out-of-the-way places, and it was one of my greatest
delights to hunt for the eggs in the long grass. I could not tell Martha Washington when I wanted
to go egg-hunting, but I would double my hands and put them on the ground, which meant
something round in the grass, and Martha always understood. When we were fortunate enough to
find a nest I never allowed her to carry the eggs home, making her understand by emphatic signs
that she might fall and break them.
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PL
The sheds where the corn was stored, the stable where the horses were kept, and the yard where
the cows were milked morning and evening were unfailing sources of interest to Martha and me.
The milkers would let me keep my hands on the cows while they milked, and I often got well
switched by the cow for my curiosity.
E
The making ready for Christmas was always a delight to me. Of course I did not know what it was
all about, but I enjoyed the pleasant odors that filled the house and the tidbits that were given to
Martha Washington and me to keep us quiet. We were sadly in the way, but that did not interfere
with our pleasure in the least. They allowed us to grind the spices, pick over the raisins and lick
the stirring spoons. I hung my stocking because the others did; I cannot remember, however, that
the ceremony interested me especially, nor did my curiosity cause me to wake before daylight to
look for my gifts.
Martha Washington had as great a love of mischief as I. Two little children were seated on the
veranda steps one hot July afternoon. One was black as ebony, with little bunches of fuzzy hair
tied with shoestrings sticking out all over her head like corkscrews. The other was white, with long
golden curls. One child was six years old, the other two or three years older. The younger child
was blind--that was I--and the other was Martha Washington. We were busy cutting out paper
dolls; but we soon wearied of this amusement, and after cutting up our shoestrings and clipping
all the leaves off the honeysuckle that were within reach, I turned my attention to Martha’s
corkscrews. She objected at first, but finally submitted. Thinking that turn and turn about is fair
play, she seized the scissors and cut off one of my curls, and would have cut them all off but for my
mother’s timely interference.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-10
Belle, our dog, my other companion, was old and lazy and liked to sleep by the open fire rather
than to romp with me. I tried hard to teach her my sign language, but she was dull and inattentive.
She sometimes started and quivered with excitement, then she became perfectly rigid, as dogs do
when they point a bird. I did not then know why Belle acted in this way; but I knew she was not
doing as I wished. This vexed me and the Lesson always ended in a one-sided boxing match. Belle
would get up, stretch herself lazily, give one or two contemptuous sniffs, go to the opposite side of
the hearth and lie down again, and I, wearied and disappointed, went off in search of Martha.
Many incidents of those early years are fixed in my memory, isolated, but clear and distinct,
making the sense of that silent, aimless, dayless life all the more intense.
Stop Reading
SA
Infer: What is the “silent, aimless, dayless life” that Keller is referring to? Why?
PL
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One day I happened to spill water on my apron, and I spread it out to dry before the fire which
was flickering on the sitting-room hearth. The apron did not dry quickly enough to suit me, so I
drew nearer and threw it right over the hot ashes. The fire leaped into life; the flames encircled me
so that in a moment my clothes were blazing. I made a terrified noise that brought Viny, my old
nurse, to the rescue. Throwing a blanket over me, she almost suffocated me, but she put out the
fire. Except for my hands and hair I was not badly burned.
About this time I found out the use of a key. One morning I locked my mother up in the pantry,
where she was obliged to remain three hours, as the servants were in a detached part of the house.
She kept pounding on the door, while I sat outside on the porch steps and laughed with glee as I
felt the jar of the pounding. This most naughty prank of mine convinced my parents that I must
be taught as soon as possible. After my teacher, Miss Sullivan, came to me, I sought an early
opportunity to lock her in her room. I went upstairs with something which my mother made me
understand I was to give to Miss Sullivan; but no sooner had I given it to her than I slammed the
door to, locked it, and hid the key under the wardrobe in the hall. I could not be induced to tell
where the key was. My father was obliged to get a ladder and take Miss Sullivan out through the
window--much to my delight. Months after I produced the key.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-11
Stop Reading
What does Helen’s stubborn streak say about her personality? Is being stubborn good or
bad? Why?
SA
PL
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When I was about five years old we moved from the little vine-covered house to a large new
one. The family consisted of my father and mother, two older half-brothers, and, afterward, a
little sister, Mildred. My earliest distinct recollection of my father is making my way through
great drifts of newspapers to his side and finding him alone, holding a sheet of paper before his
face. I was greatly puzzled to know what he was doing. I imitated this action, even wearing his
spectacles, thinking they might help solve the mystery. But I did not find out the secret for several
years. Then I learned what those papers were, and that my father edited one of them.
E
My father was most loving and indulgent, devoted to his home, seldom leaving us, except in the
hunting season. He was a great hunter, I have been told, and a celebrated shot. Next to his family
he loved his dogs and gun. His hospitality was great, almost to a fault, and he seldom came home
without bringing a guest. His special pride was the big garden where, it was said, he raised the
finest watermelons and strawberries in the county; and to me he brought the first ripe grapes and
the choicest berries. I remember his caressing touch as he led me from tree to tree, from vine to
vine, and his eager delight in whatever pleased me.
He was a famous story-teller; after I had acquired language he used to spell clumsily into my
hand his cleverest anecdotes, and nothing pleased him more than to have me repeat them at an
opportune moment.
I was in the North, enjoying the last beautiful days of the summer of 1896, when I heard the news
of my father’s death. He had had a short illness, there had been a brief time of acute suffering, then
all was over. This was my first great sorrow--my first personal experience with death.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-12
How shall I write of my mother? She is so near to me that it almost seems indelicate to speak of
her.
For a long time I regarded my little sister as an intruder. I knew that I had ceased to be my
mother’s only darling, and the thought filled me with jealousy. She sat in my mother’s lap
constantly, where I used to sit, and seemed to take up all her care and time. One day something
happened which seemed to me to be adding insult to injury.
SA
At that time I had a much-petted, much-abused doll, which I afterward named Nancy. She was,
alas, the helpless victim of my outbursts of temper and of affection, so that she became much the
worse for wear. I had dolls which talked, and cried, and opened and shut their eyes; yet I never
loved one of them as I loved poor Nancy. She had a cradle, and I often spent an hour or more
rocking her. I guarded both doll and cradle with the most jealous care; but once I discovered my
little sister sleeping peacefully in the cradle. At this presumption on the part of one to whom as yet
no tie of love bound me I grew angry. I rushed upon the cradle and over-turned it, and the baby
might have been killed had my mother not caught her as she fell. Thus it is that when we walk in
the valley of twofold solitude we know little of the tender affections that grow out of endearing
words and actions and companionship. But afterward, when I was restored to my human heritage,
Mildred and I grew into each other’s hearts, so that we were content to go hand-in-hand wherever
caprice led us, although she could not understand my finger language, nor I her childish prattle.
PL
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PRINT
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-13
Lesson 37
The Story of My Life
by Helen Keller
Continue reading with Chapter Three. Again, look for your Vocabulary words, and
follow the same procedure as in the previous two Lessons.
Chapter Three Summary Questions
Why did Helen’s parents take her to Baltimore?
SA
M
Who ended up being able to help the Keller’s?
PL
Helen felt very comfortable with Dr. Bell. Why?
E
Infer: Thinking about Helen’s siblings. She gets a lot of attention from their parents.
How do you think her siblings felt? If you were in that situation, how would you want
your parents to divide their time?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-14
Pre-writing: Begin thinking about Helen’s life as you know so far. What are three
aspects you found interesting? Can you relate to Helen? How?
SA
Lesson Wrap-Up: By the time you finish reading Chapter Three, you can see that Helen’s
future is looking brighter. She is faced with the prospect of being given a teacher. From the
last paragraph of Chapter Three, you can make an inference as to Helen’s opinion on the
value of education. State what you think Helen means in that final paragraph. Compare
her opinion about education to yours.
PL
M
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-15
Part One: Chapter Three
Meanwhile the desire to express myself grew. The few signs I used became less and less adequate,
and my failures to make myself understood were invariably followed by outbursts of passion. I felt
as if invisible hands were holding me, and I made frantic efforts to free myself. I struggled--not
that struggling helped matters, but the spirit of resistance was strong within me; I generally broke
down in tears and physical exhaustion. If my mother happened to be near I crept into her arms,
too miserable even to remember the cause of the tempest. After awhile, the need of some means of
communication became so urgent that these outbursts occurred daily, sometimes hourly.
Stop Reading
Put yourself in Helen’s place. How would you react if you could no longer communicate
with anyone? What feelings do you think you would have?
SA
PL
M
E
My parents were deeply grieved and perplexed. We lived a long way from any school for the blind
or the deaf, and it seemed unlikely that any one would come to such an out-of-the-way place
as Tuscumbia to teach a child who was both deaf and blind. Indeed, my friends and relatives
sometimes doubted whether I could be taught. My mother’s only ray of hope came from Dickens’s
“American Notes.” She had read his account of Laura Bridgman, and remembered vaguely that she
was deaf and blind, yet had been educated. But she also remembered with a hopeless pang that Dr.
Howe, who had discovered the way to teach the deaf and blind, had been dead many years. His
methods had probably died with him; and if they had not, how was a little girl in a far-off town in
Alabama to receive the benefit of them?
When I was about six years old, my father heard of an eminent oculist in Baltimore, who had been
successful in many cases that had seemed hopeless. My parents at once determined to take me to
Baltimore to see if anything could be done for my eyes.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-16
The journey, which I remember well, was very pleasant. I made friends with many people on the
train. One lady gave me a box of shells. My father made holes in these so that I could string them,
and for a long time they kept me happy and contented. The conductor, too, was kind. Often when
he went his rounds I clung to his coat tails while he collected and punched the tickets. His punch,
with which he let me play, was a delightful toy. Curled up in a corner of the seat I amused myself
for hours making funny little holes in bits of cardboard.
SA
My aunt made me a big doll out of towels. It was the most comical shapeless thing, this improvised
doll, with no nose, mouth, ears or eyes--nothing that even the imagination of a child could
convert into a face. Curiously enough, the absence of eyes struck me more than all the other
defects put together. I pointed this out to everybody with provoking persistency, but no one
seemed equal to the task of providing the doll with eyes. A bright idea, however, shot into my
mind, and the problem was solved. I tumbled off the seat and searched under it until I found my
aunt’s cape, which was trimmed with large beads. I pulled two beads off and indicated to her that
I wanted her to sew them on my doll. She raised my hand to her eyes in a questioning way, and I
nodded energetically. The beads were sewed in the right place and I could not contain myself for
joy; but immediately I lost all interest in the doll. During the whole trip I did not have one fit of
temper, there were so many things to keep my mind and fingers busy.
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Stop Reading
PL
Helen immediately noticed the doll’s lack of features. Why do you think it was important
for Helen that the doll have eyes?
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-17
When we arrived in Baltimore, Dr. Chisholm received us kindly: but he could do nothing. He
said, however, that I could be educated, and advised my father to consult Dr. Alexander Graham
Bell of Washington, who would be able to give him information about schools and teachers of
deaf or blind children. Acting on the doctor’s advice, we went immediately to Washington to see
Dr. Bell, my father with a sad heart and many misgivings, I wholly unconscious of his anguish,
finding pleasure in the excitement of moving from place to place. Child as I was, I at once felt
the tenderness and sympathy which endeared Dr. Bell to so many hearts, as his wonderful
achievements enlist their admiration. He held me on his knee while I examined his watch, and
he made it strike for me. He understood my signs, and I knew it and loved him at once. But I did
not dream that that interview would be the door through which I should pass from darkness into
light, from isolation to friendship, companionship, knowledge, love.
SA
Dr. Bell advised my father to write to Mr. Anagnos, director of the Perkins Institution in Boston,
the scene of Dr. Howe’s great labors for the blind, and ask him if he had a teacher competent
to begin my education. This my father did at once, and in a few weeks there came a kind letter
from Mr. Anagnos with the comforting assurance that a teacher had been found. This was in the
summer of 1886. But Miss Sullivan did not arrive until the following March.
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Thus I came up out of Egypt and stood before Sinai, and a power divine touched my spirit and
gave it sight, so that I beheld many wonders. And from the sacred mountain I heard a voice which
said, “Knowledge is love and light and vision.”
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-18
Lesson 38
The Story of My Life
by Helen Keller
Continue reading with Chapter Four. Look for your Vocabulary words, and follow the
same procedure as in the last three Lessons. When you have finished reading, answer the
following Summary Questions.
Chapter Four Summary Questions
What one word unlocked Helen’s mind to learning?
SA
Describe Helen’s learning process to this point. Who was involved early on and how have
things changed since the arrival of Miss Sullivan.
PL
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Write one paragraph comparing your feelings toward education and Helen’s feelings
toward education.
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Lesson Wrap-Up: When reading the beautiful prose of Helen Keller and experiencing her
joy in finding the key which unlocked her world, it is impossible not to be affected by her
feelings. Think of an event which caused you great joy. Write a paragraph describing that
event. Try to draw your reader in as Helen did. Make your reader share your feelings.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-19
Part One: Chapter Four
The most important day I remember in all my life is the one on which my teacher, Anne Mansfield
Sullivan, came to me. I am filled with wonder when I consider the immeasurable contrasts
between the two lives which it connects. It was the third of March, 1887, three months before I
was seven years old.
SA
On the afternoon of that eventful day, I stood on the porch, dumb, expectant. I guessed vaguely
from my mother’s signs and from the hurrying to and fro in the house that something unusual
was about to happen, so I went to the door and waited on the steps. The afternoon sun penetrated
the mass of honeysuckle that covered the porch, and fell on my upturned face. My fingers lingered
almost unconsciously on the familiar leaves and blossoms which had just come forth to greet the
sweet southern spring. I did not know what the future held of marvel or surprise for me. Anger
and bitterness had preyed upon me continually for weeks and a deep languor had succeeded this
passionate struggle.
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Have you ever been at sea in a dense fog, when it seemed as if a tangible white darkness shut you
in, and the great ship, tense and anxious, groped her way toward the shore with plummet and
sounding-line, and you waited with beating heart for something to happen? I was like that ship
before my education began, only I was without compass or sounding-line, and had no way of
knowing how near the harbor was. “Light! Give me light!” was the wordless cry of my soul, and
the light of love shone on me in that very hour.
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I felt approaching footsteps, I stretched out my hand as I supposed to my mother. Some one took
it, and I was caught up and held close in the arms of her who had come to reveal all things to me,
and, more than all things else, to love me.
The morning after my teacher came she led me into her room and gave me a doll. The little blind
children at the Perkins Institution had sent it and Laura Bridgman had dressed it; but I did not
know this until afterward. When I had played with it a little while, Miss Sullivan slowly spelled
into my hand the word “d-o-l-l.” I was at once interested in this finger play and tried to imitate it.
When I finally succeeded in making the letters correctly I was flushed with childish pleasure and
pride. Running downstairs to my mother I held up my hand and made the letters for doll. I did not
know that I was spelling a word or even that words existed; I was simply making my fingers go in
monkey-like imitation. In the days that followed I learned to spell in this uncomprehending way
a great many words, among them pin, hat, cup and a few verbs like sit, stand and walk. But my
teacher had been with me several weeks before I understood that everything has a name.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-20
One day, while I was playing with my new doll, Miss Sullivan put my big rag doll into my lap also,
spelled “d-o-l-l” and tried to make me understand that “d-o-l-l” applied to both. Earlier in the day
we had had a tussle over the words “m-u-g” and “w-a-t-e-r.” Miss Sullivan had tried to impress
it upon me that “m-u-g” is mug and that “w-a-t-e-r” is water, but I persisted in confounding the
two. In despair she had dropped the subject for the time, only to renew it at the first opportunity.
I became impatient at her repeated attempts and, seizing the new doll, I dashed it upon the floor.
I was keenly delighted when I felt the fragments of the broken doll at my feet. Neither sorrow nor
regret followed my passionate outburst. I had not loved the doll. In the still, dark world in which
I lived there was no strong sentiment or tenderness. I felt my teacher sweep the fragments to one
side of the hearth, and I had a sense of satisfaction that the cause of my discomfort was removed.
She brought me my hat, and I knew I was going out into the warm sunshine. This thought, if a
wordless sensation may be called a thought, made me hop and skip with pleasure.
Stop Reading
SA
Why was Helen frustrated? What does her reaction to this frustration suggest about her
personality?
PL
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We walked down the path to the well-house, attracted by the fragrance of the honeysuckle with
which it was covered. Some one was drawing water and my teacher placed my hand under the
spout. As the cool stream gushed over one hand she spelled into the other the word water, first
slowly, then rapidly. I stood still, my whole attention fixed upon the motions of her fingers.
Suddenly I felt a misty consciousness as of something forgotten--a thrill of returning thought; and
somehow the mystery of language was revealed to me. I knew then that “w-a-t-e-r” meant the
wonderful cool something that was flowing over my hand. That living word awakened my soul,
gave it light, hope, joy, set it free! There were barriers still, it is true, but barriers that could in time
be swept away.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-21
I left the well-house eager to learn. Everything had a name, and each name gave birth to a new
thought. As we returned to the house every object which I touched seemed to quiver with life.
That was because I saw everything with the strange, new sight that had come to me. On entering
the door I remembered the doll I had broken. I felt my way to the hearth and picked up the pieces.
I tried vainly to put them together. Then my eyes filled with tears; for I realized what I had done,
and for the first time I felt repentance and sorrow.
I learned a great many new words that day. I do not remember what they all were; but I do know
that mother, father, sister, teacher were among them--words that were to make the world blossom
for me, “like Aaron’s rod, with flowers.” It would have been difficult to find a happier child than I
was as I lay in my crib at the close of that eventful day and lived over the joys it had brought me,
and for the first time longed for a new day to come.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-22
Lesson 39
The Story of My Life
by Helen Keller
In this Lesson you continue reading Helen Keller’s life story. Continue using the Cornell style
for your Vocabulary work. When you have finished reading, answer the following Summary
Questions.
Chapter Five Summary Questions
Why was nature so important to Helen’s early learning?
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What happened to Helen during the thunderstorm?
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Summarize: Write about what happened to Helen in the cherry tree and then in the
mimosa tree. What does her experience in the mimosa tree tell about her character?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-23
Recall: Explain why Helen would have uncontrollable fits of anger and physical outbursts.
Where did her parents turn for help? What role did nature play in easing these fits? Write
a one to two paragraph explanation using details from the reading.
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Making Connections: Helen Keller often writes about light, she uses many metaphors
using light as well. She stated that “knowledge is love and light and wisdom.” How would
you feel under the same circumstances as Helen? Would you have welcomed Ms. Sullivan,
or would you have rebelled?
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Lesson Wrap-Up: Helen’s steps forward in learning and living represent amazing progress.
Once again, think about her courage and her brave spirit as she faced life’s challenges.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-24
Part One: Chapter Five
I recall many incidents of the summer of 1887 that followed my soul’s sudden awakening. I did
nothing but explore with my hands and learn the name of every object that I touched; and the
more I handled things and learned their names and uses, the more joyous and confident grew my
sense of kinship with the rest of the world.
SA
When the time of daisies and buttercups came Miss Sullivan took me by the hand across the
fields, where men were preparing the earth for the seed, to the banks of the Tennessee River, and
there, sitting on the warm grass, I had my first Lessons in the beneficence of nature. I learned how
the sun and the rain make to grow out of the ground every tree that is pleasant to the sight and
good for food, how birds build their nests and live and thrive from land to land, how the squirrel,
the deer, the lion and every other creature finds food and shelter. As my knowledge of things
grew I felt more and more the delight of the world I was in. Long before I learned to do a sum in
arithmetic or describe the shape of the earth, Miss Sullivan had taught me to find beauty in the
fragrant woods, in every blade of grass, and in the curves and dimples of my baby sister’s hand.
She linked my earliest thoughts with nature, and made me feel that “birds and flowers and I were
happy peers.”
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But about this time I had an experience, which taught me that nature is not always kind. One
day my teacher and I were returning from a long ramble. The morning had been fine, but it was
growing warm and sultry when at last we turned our faces homeward. Two or three times we
stopped to rest under a tree by the wayside. Our last halt was under a wild cherry tree a short
distance from the house. The shade was grateful, and the tree was so easy to climb that with my
teacher’s assistance I was able to scramble to a seat in the branches. It was so cool up in the tree
that Miss Sullivan proposed that we have our luncheon there. I promised to keep still while she
went to the house to fetch it.
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Suddenly a change passed over the tree. All the sun’s warmth left the air. I knew the sky was black,
because all the heat, which meant light to me, had died out of the atmosphere. A strange odor
came up from the earth. I knew it, it was the odor that always precedes a thunderstorm, and a
nameless fear clutched at my heart. I felt absolutely alone, cut off from my friends and the firm
earth. The immense, the unknown, enfolded me. I remained still and expectant; a chilling terror
crept over me. I longed for my teacher’s return; but above all things I wanted to get down from
that tree
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-25
There was a moment of sinister silence, then a multitudinous stirring of the leaves. A shiver ran
through the tree, and the wind sent forth a blast that would have knocked me off had I not clung
to the branch with might and main. The tree swayed and strained. The small twigs snapped and
fell about me in showers. A wild impulse to jump seized me, but terror held me fast. I crouched
down in the fork of the tree. The branches lashed about me. I felt the intermittent jarring that
came now and then, as if something heavy had fallen and the shock had traveled up till it reached
the limb I sat on. It worked my suspense up to the highest point, and just as I was thinking the
tree and I should fall together, my teacher seized my hand and helped me down. I clung to her,
trembling with joy to feel the earth under my feet once more. I had learned a new lesson--that
nature “wages open war against her children, and under softest touch hides treacherous claws.”
STOP READING
SA
What does Helen mean when she says “that nature ‘wages open war against her children,
and under softest touch hides treacherous claws.”
PL
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After this experience it was a long time before I climbed another tree. The mere thought filled me
with terror. It was the sweet allurement of the mimosa tree in full bloom that finally overcame my
fears. One beautiful spring morning when I was alone in the summer-house, reading, I became
aware of a wonderful subtle fragrance in the air. I started up and instinctively stretched out my
hands. It seemed as if the spirit of spring had passed through the summer-house. “What is it?” I
asked, and the next minute I recognized the odor of the mimosa blossoms. I felt my way to the end
of the garden, knowing that the mimosa tree was near the fence, at the turn of the path. Yes, there
it was, all quivering in the warm sunshine, its blossom-laden branches almost touching the long
grass. Was there ever anything so exquisitely beautiful in the world before! Its delicate blossoms
shrank from the slightest earthly touch; it seemed as if a tree of paradise had been transplanted
to earth. I made my way through a shower of petals to the great trunk and for one minute stood
irresolute; then, putting my foot in the broad space between the forked branches, I pulled myself
up into the tree. I had some difficulty in holding on, for the branches were very large and the bark
hurt my hands. But I had a delicious sense that I was doing something unusual and wonderful so I
kept on climbing higher and higher, until I reached a little seat which somebody had built there so
long ago that it had grown part of the tree itself. I sat there for a long, long time, feeling like a fairy
on a rosy cloud. After that I spent many happy hours in my tree of paradise, thinking fair thoughts
and dreaming bright dreams.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-26
Lesson 40
The Story of My Life
by Helen Keller
In Lesson 40, you will read the last Chapter in Part One of Helen Keller’s life story. Continue
with this Lesson’s exercises as you have done in the previous Lessons of The Story of My
Life.
When you have finished, answer the following Summary Questions.
Chapter Six Summary Questions:
SA
Love is a very abstract concept. Think of how Helen learned what love is. Do you
remember the first time you felt love? Can you describe it simply in words? What
emotions make up love?
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Teaching a deaf child is very difficult. Miss Sullivan had lots of patience. Do you think
she felt frustrations during this time? How would negative emotions have affected
Helen’s learning process? Use facts from Helen’s past to make an inference.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-27
Literature Response: Thinking back to Chapter One, Keller wrote; “The beginning of my
life was simple and much like every other little life. I came, I saw, I conquered.” Write an
essay about Helen’s life using this line as the theme. Make sure to use examples and quotes
from Chapters One through Six. This composition will be a five paragraph essay. Refer to
Lesson 34 for a review of the five paragraph essay.
You will be graded with the Literature Response Rubric used in Lesson 34.
Lesson Wrap-Up: You have completed reading a portion of Helen Keller’s life story. It is an
autobiography. Now that you have experienced this work, you can see that, like a piece of
fiction, nonfiction can be lively, engaging, and interesting. It can inspire, give new ideas for
consideration, and provide genuine reading enjoyment. Helen Keller’s story delivers in each
of those categories.
Think about how the Helen Keller organized her autobiography. Talk to your teacher
about how each section of her story contributes to the whole story.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-28
Part One: Chapter Six
I had now the key to all language, and I was eager to learn to use it. Children who hear acquire
language without any particular effort; the words that fall from others’ lips they catch on the
wing, as it were, delightedly, while the little deaf child must trap them by a slow and often painful
process. But whatever the process, the result is wonderful. Gradually from naming an object we
advance step by step until we have traversed the vast distance between our first stammered syllable
and the sweep of thought in a line of Shakespeare.
SA
At first, when my teacher told me about a new thing I asked very few questions. My ideas were
vague, and my Vocabulary was inadequate; but as my knowledge of things grew, and I learned
more and more words, my field of inquiry broadened, and I would return again and again to the
same subject, eager for further information. Sometimes a new word revived an image that some
earlier experience had engraved on my brain.
PL
“What is love?” I asked.
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I remember the morning that I first asked the meaning of the word, “love.” This was before I knew
many words. I had found a few early violets in the garden and brought them to my teacher. She
tried to kiss me: but at that time I did not like to have any one kiss me except my mother. Miss
Sullivan put her arm gently round me and spelled into my hand, “I love Helen.”
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She drew me closer to her and said, “It is here,” pointing to my heart, whose beats I was conscious
of for the first time. Her words puzzled me very much because I did not then understand anything
unless I touched it.
I smelt the violets in her hand and asked, half in words, half in signs, a question which meant, “Is
love the sweetness of flowers?”
“No,” said my teacher.
Again I thought. The warm sun was shining on us.
“Is this not love?” I asked, pointing in the direction from which the heat came. “Is this not love?”
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-3291
It seemed to me that there could be nothing more beautiful than the sun, whose warmth makes
all things grow. But Miss Sullivan shook her head, and I was greatly puzzled and disappointed. I
thought it strange that my teacher could not show me love.
A day or two afterward I was stringing beads of different sizes in symmetrical groups--two large
beads, three small ones, and so on. I had made many mistakes, and Miss Sullivan had pointed
them out again and again with gentle patience. Finally I noticed a very obvious error in the
sequence and for an instant I concentrated my attention on the Lesson and tried to think how
I should have arranged the beads. Miss Sullivan touched my forehead and spelled with decided
emphasis, “Think.”
In a flash I knew that the word was the name of the process that was going on in my head. This
was my first conscious perception of an abstract idea.
SA
For a long time I was still--I was not thinking of the beads in my lap, but trying to find a meaning
for “love” in the light of this new idea. The sun had been under a cloud all day, and there had been
brief showers; but suddenly the sun broke forth in all its southern splendor.
Again I asked my teacher, “Is this not love?”
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PL
“Love is something like the clouds that were in the sky before the sun came out,” she replied. Then
in simpler words than these, which at that time I could not have understood, she explained: “You
cannot touch the clouds, you know; but you feel the rain and know how glad the flowers and the
thirsty earth are to have it after a hot day. You cannot touch love either; but you feel the sweetness
that it pours into everything. Without love you would not be happy or want to play.”
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The beautiful truth burst upon my mind--I felt that there were invisible lines stretched between
my spirit and the spirits of others.
From the beginning of my education Miss Sullivan made it a practice to speak to me as she
would speak to any hearing child; the only difference was that she spelled the sentences into my
hand instead of speaking them. If I did not know the words and idioms necessary to express my
thoughts she supplied them, even suggesting conversation when I was unable to keep up my end
of the dialogue.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 35, 36, 37, 38, 39 & 40-30
This process was continued for several years; for the deaf child does not learn in a month, or
even in two or three years, the numberless idioms and expressions used in the simplest daily
intercourse. The little hearing child learns these from constant repetition and imitation. The
conversation he hears in his home stimulates his mind and suggests topics and calls forth the
spontaneous expression of his own thoughts. This natural exchange of ideas is denied to the deaf
child. My teacher, realizing this, determined to supply the kinds of stimulus I lacked. This she did
by repeating to me as far as possible, verbatim, what she heard, and by showing me how I could
take part in the conversation. But it was a long time before I ventured to take the initiative, and
still longer before I could find something appropriate to say at the right time. The deaf and the
blind find it very difficult to acquire the amenities of conversation. How much more this difficulty
must be augmented in the case of those who are both deaf and blind! They cannot distinguish the
tone of the voice or, without assistance, go up and down the gamut of tones that give significance
to words; nor can they watch the expression of the speaker’s face, and a look is often the very soul
of what one says.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 41-1
Lesson 41
Vocabulary Quiz on The Story of My Life
The quiz on the Vocabulary words for The Story of My Life is shown below. For each word,
choose the correct definition.
1. Superstitious
a. A frequently visited place
b. Perplexed or puzzled
c. Showing a belief in the laws of nature and faith in magic
d. Expressed or performed with emphasis
SA
2. Arbor
a. Expressed through gestures
b. A framework that supports climbing plants
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c. Confusing
d. To apply oil, ointment, or a similar substance to
PL
3. Festoon
a. A string or garland, as of leaves or flowers, suspended in a loop or curve
b. A physician who treats diseases of the eyes.
c. In violation of good taste
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d. Very humid or hot
4. Emphatic
a. Expressed through gestures
b. A physician who treats diseases of the eyes
c. Expressed or performed with emphasis
d. Full of light
STUDENT MANUAL
LANGUAGE ARTS — LESSON 41-2
5. Anointed
a. Not changing or subject to change
b. To apply ointment, oil or a similar substance to
c. An inclination to change one’s mind frequently
d. A framework that supports climbing plants
6. Gesticulated
a. Tolerant and permissive
b. Not changing or subject to change
c. Humid or hot
d. Expressed through gestures
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7. Caprice
a. Perplexed or puzzled
b. An inclination to change one’s mind impulsively
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c. A frequently visited place
d. Expressed or performed with emphasis
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8. Oculist
a. A physician who treats diseases of the eyes
b. In violation of good taste
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c. Too numerous to be counted
d. Expressing attitude of regarding someone as inferior
9. Multitudinous
a. A frequently visited place
b. Perplexed or puzzled
c. Too numerous to be counted
d. Constrained by physical, legal, social or moral means
STUDENT MANUAL
LANGUAGE ARTS — LESSON 41-3
Expand your Vocabulary! Choose five words from the Vocabulary practice from Helen
Keller’s life story. Create a power point slide for each word. In each slide, include the
following:
Word
Definition
Picture
Original sentence
Lesson Wrap-Up: Gaining control of Vocabulary makes you a better writer. You have
more words to include in your writing to make it vivid for your reader. Try to work some of
the words you have learned during this school year into your future writing assignments.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 42-1
Lesson 42
Writing a Research Report:
Anne Sullivan Project
Anne Mansfield Sullivan played an enormous role in Helen Keller’s life. Conduct research
about Sullivan and write a research report about her life.
A research report presents information taken from books, the Internet, interviews and
other reference sources. A quality report does not just repeat information, but guides the
reader through important events and main ideas. When written well, the report creates an
overall picture of the subject being written. A good research report includes:
t One main idea
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t Quality information taken from many different sources
t A clearly organized pattern of writing
t Reliable facts and details to support main ideas
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There are three main types of research reports: biographical sketches, scientific
experiments, and documented essays. For this assignment, you will be completing a
biographical sketch about the life of Anne Mansfield Sullivan.
PL
The first step to writing a research report is to locate the information you will put into your
report. This is called doing research. You have to find information from books, the Internet,
or people who have knowledge of your subject.
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One way to gather details is to take notes using the Cornell notes. Set up your paper with
the topics you wish to explore on the left side of the paper. On the right side, leave room
for details and facts. As you are taking notes, be sure to do the following:
t%PVCMFDIFDLBMMTQFMMJOHPGOBNFTBOEUFSNT
t3FNFNCFSUPVTFRVPUBUJPONBSLTXIFOZPVFYUSBDUFYBDUXPSETPSQISBTFTGSPN
the resource.
t"GUFSFBDICVMMFUQPJOUPOZPVS$PSOFMMOPUFTSFNFNCFSUPMJTUUIFCPPLPSTPVSDF
where you retrieved the information.
t$SFBUFBSVOOJOHCJCMJPHSBQIZ,FFQBMJTUPGBMMCPPLT*OUFSOFUTFBSDIFTBOE
interviews that you do.
The overall focus or point of your paper is called the thesis statement. The thesis statement
should appear in the introductory paragraph. For example, if you are writing a report
about acid rain, you could focus on the effect of acid rain on your local river. The statement
might read, “Acid rain is causing water pollution on the Red River.” The thesis statement is
usually one single sentence that expresses the main idea.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 42-2
The body of your paper contains the supporting ideas and research. Organize the
information chronologically (time) or by type (groups). For this particular assignment, you
will order your details and support in chronological order. You should have two supporting
facts or details for each main point. You will have one paragraph for each main point.
Connect your ideas and paragraphs together by using time ordered transition words,
such as before, after, next, first, last, and so on. Each body paragraph should begin with a
different transition word.
The concluding paragraph should summarize all of the points listed in the body of the
paper. It should also re-state the thesis statement. A conclusion should end with a thought
provoking statement.
You will be graded using the following rubric:
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 42-3
Use the time given in Lesson 42 to conduct research on Anne Sullivan. Take notes
using the Cornell method. If you copy words or phrases exactly, put quotation marks
around them and write down exactly where you found the information. You will need the
name of the book or website, the date the material was written, and the page where it was
found. On a separate sheet of paper, keep a list of all of your sources. You will turn in the
list of sources as part of the final packet you submit to your teacher in Lesson 44.
Lesson Wrap-Up: By the time you are ready to move on to Lesson 43, you should have
enough information about Anne Sullivan to write a five paragraph essay about her.
Take enough time in your research to find interesting facts that will make your writing
memorable for the reader.
SA
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 43-1
Lesson 43
Writing a Research Report:
Anne Sullivan Project
Now that you have completed the research on Helen Keller’s teacher, Anne Sullivan, it is
time to put information together. Review the facts you have. Organize them into main
ideas. Because this will be a five paragraph essay, you need to have three main ideas about
Anne Sullivan to share with your reader.
SA
Your first paragraph, the introduction, will include your thesis statement. This was defined
for you in Lesson 42. The next three paragraphs will be the body paragraphs.
Each one will give a main idea which supports the thesis statement you made in the first
paragraph. The last paragraph is the conclusion paragraph. You will use this paragraph to
sum up your ideas and restate the main idea of the essay.
M
Begin writing. Use your notes so you can have access to specific details. Remember to use
quotation marks if you are using the exact words or phrases taken from your sources.
Remember to use transition words at the beginning of each body paragraph. The transition
words were discussed in Lesson 42.
PL
When you have finished writing five paragraphs, reread the essay. Make corrections. Adjust
spelling and grammar. Rewrite sentences that are not clear or well written. Ask another
person to look at your work to give you suggestions for improvement.
You will be given time in Lesson 44 to write your final copy.
E
Lesson Wrap-Up: All steps in writing a research report are important. Your research needs
to be plentiful enough to provide substance for your report. Organizing your thoughts
into the five paragraph format is crucial. Writing the report calls for you to use your best
writing skills. The editing and review process is critical to producing a high quality finished
product. When you have edited your rough draft, you are ready to proceed to the next
Lesson.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 44-1
Lesson 44
Writing a Research Report:
Anne Sullivan Project
Now you are ready to create your finished product: the research report on Anne Sullivan,
Helen Keller’s teacher. When you submit your work, include the research notes you took in
Lesson 42, the rough draft from Lesson 43 which shows signs of editing, the source page
you created in Lesson 42 when you were taking notes, and the final copy of the report.
Take the time you need to create a polished piece of writing.
SA
Lesson Wrap-Up: Now, take time to reflect on your accomplishment and feel good about
your work. Being able to express yourself in an organized, well-thought-out manner is an
important skill to possess. Many adults are still working on that skill! Possessing it will help
you to be successful in the world beyond school.
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 45-1
Lessons 45-50
Autobiography Project
Helen Keller chose to document the struggles and triumphs of her life. She shared valuable
personal information which allows us to better understand the life of a blind and deaf
child. Her insights into daily life also have helped you to reflect upon yours.
Today you will begin a great story….your own! You will be asked to search both your soul
and mind for events that are important and significant to your life. But first, you must
learn how to begin.
SA
What is an autobiographical writing? Autobiographies tell the stories or events of the
writer. It is like painting a picture with words. Just like a picture, the words tell the story.
Autobiographies are not only a way for someone to learn about you, but they help you
learn about yourself. You can essentially answer the big question, “Exactly who am I?”
Types of Autobiographical Writing:
M
Personal narratives are one way to write about the events in your life. They often tell of
one specific event or situation.
Autobiographical sketches cover a larger span of time and usually a group or related
events.
PL
Reflective essays often give meaning to thought provoking questions. These questions
may have arisen from an incident in your life. For example, they may answer a question
like, “Why do I feel happy when I see a balloon?”
E
Memoirs are written about the personal relationships in your life. The relationships can
be with another person, animal or a place that you find special. Memoirs often include the
writer’s thoughts and feelings.
This project will take approximately six Lessons. In each Lesson you will be given a new
direction and format to use to write about yourself.
An optional part of this assignment is to create a family tree. Most likely you will need help
from your family members to complete the tree with information about grandparents and
great grandparents. You can often find a template on the Internet to begin your family
tree. You family tree should begin with your parents, add your siblings and then move
back through time or forward from there. If you need help, refer to the example below.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 45-2
If you choose to create a family tree, when you have finished your tree, add it to your final
presentation.
Mom
Dad
SA
M
In Lesson 45, you are going to focus on what was going on in the world on the day you
were born. What significant events took place that year? Take a trip to your local library to
find a newspaper from the day you were born. Libraries often keep an archive of papers in
their reference room. Ask a librarian for assistance in finding the year you were born. You
may also look for magazines, or almanacs published in the same year.
PL
Some newspapers have an online archive that you can access via the Internet. You can also
try there!
As you are gathering your information, please respond to the following questions. Use
complete sentences to answer.
E
On the day that you were born, what happened in your local community? What happened
in the United States? What world events took place? Looking through the entire year,
what were the MAJOR news events of the year? For example: In 1994, Nelson Mandela
was elected president of South Africa.
Entertainment plays a large part in all of our lives. What were the hit songs the year you
were born? What movies were popular? Which actors or actresses were popular?
What were the best-selling novels and authors?
Which sports stars were popular, and for what sports?
Demographic information is also important. Who was the President of the United States?
Who was your state’s governor? What was the price of gas? How much did the average
home sell for?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 45-3
If you choose to search the Internet to find major events, here is a tip:
Using the search engine of your choice, type in the full date of your birth in quotation
marks, plus the key word, events.
Example: “January 21, 1994” events
Use Cornell notes to take notes of all of this information. This information
will be presented in paragraph form at the final presentation.
The information from Lesson 45 will form a section of the final presentation for
this unit. It can be titled, “On My Birthday.” It will be worth 12 points, so be sure to have
enough information to earn all 12 points.
SA
Lesson Wrap-Up: You have finished the first step of the autobiography project. By
researching the day and year of your birth, you have found some interesting information
that you did not know. Perhaps you should read a book that was published in the year of
your birth or watch a movie that was popular that year.
PL
M
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 46-1
Lesson 46
Autobiography Project
In Lesson 46, your research will take a more personal turn. It won’t be necessary to go to
the library or search the Internet.
The famous philosopher Socrates once said, “Know thyself.” How well do you know
yourself? What is it like being the age you are? Use the following questions to help you
make this discovery.
Answer all questions using complete sentences. Your response to each question should be
detailed. Be thoughtful in your responses.
What are your physical features? Describe yourself.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 46-2
In what ways are you like other people your age? How do you differ?
SA
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What is your most unique quality?
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 46-3
Who or what influences you the most at this time in your life? Why?
SA
PL
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What disturbs you?
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 46-4
What makes you the happiest?
SA
PL
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What do you value?
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 46-5
Once you have answered these questions to the best of your ability, begin looking for
pictures or draw pictures to represent what it means to be you in this time and in this
place.
Your responses to the questions and pictures you choose to represent you will be part of
your final project report. The responses you provided in Lesson Forty-Six can be titled,
“Being My Age” in the final report. It will be worth 18 points, so be sure to provide
enough information to earn all possible points.
Once you have answered these questions to the best of your ability, begin looking for
pictures or draw pictures to represent what it means to be you in this time and in this
place.
SA
Your responses to the questions and pictures you choose to represent you will be part of
your final project report. The responses you provided in Lesson 46 can be titled, “Being
My Age” in the final report. It will be worth 18 points, so be sure to provide enough
information to earn all possible points.
PL
M
Lesson Wrap-Up: This unit allows you to focus on a popular topic: you! Sometimes the
responses to the prompts will come from outside of you. Other times the responses will be
internally generated. Either way, you are the central focus of this assignment. Its purpose
is to give you an opportunity to search for answers you may be looking for, to express your
feelings and opinions, or to just define yourself in your own eyes.
E
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 47-1
Lesson 47
Autobiography Project
We all have different lifestyles and ways we spend our time. Tell about your everyday life.
Remember, as you write, you are recording real history, so be honest! Think ahead to a
classroom 50 years from now. Maybe someone who is your current age is reading about
your world. What do you think they would want to know? Make it exciting and detailed!
Please answer the following questions as honestly as possible. Remember to use complete
sentences and give specific details.
Describe what the “trends” are with you and your friends. What music do you currently
listen to, what dances are “in,” and which TV shows do you like?
SA
PL
M
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Describe what is definitely “out” with you and your friends.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 47-2
What fashions do you choose to wear? What is your clothing style? What is your hairstyle
like?
SA
Describe what a typical day of school is like? Do you enjoy one subject more than
another? Is education important to you? Why or why not?
PL
M
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Discuss some of the conflicts in your life. What stresses you out? How do you handle it?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 47-3
What do you enjoy doing when you are not at school? What is your typical weekday
evening like? What about a typical Saturday or Sunday?
SA
List some of your activities. Are you involved in a sport or a church organization? What
kinds of hobbies do you have?
PL
M
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Describe young people of the opposite gender. What are they like? What do you like or
dislike about them?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 47-4
Where do you “hang out” with your friends? What activities do you enjoy doing
together?
SA
The answers you have provided to questions in Lesson 47 can be part of a section in your
final report titled, “A Day in the Life.” It will be worth 21 points, so be sure to provide
enough detail to earn all possible points.
PL
M
Lesson Wrap-Up: Begin thinking about a final presentation for this project. If you have
a computer, consider making a computer presentation so you can have your own digital
story. If you do not have a computer, consider making a scrapbook with this information!
You will be graded on your information, the presentation, and how it best represents you.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 48-1
Lesson 48
Autobiography Project
We all have our own personal tastes, or likes and dislikes. You have already listed some of
your interests, but here are a few more things to think about.
What are your personal favorites?
Books
Plays
Colors
Food
Flowers
SA
Holidays
Sports
Cities
People’s names
M
Restaurants
Are there any items in the list above that you really dislike? List them.
PL
E
What are your pet peeves?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 48-2
What would you most like to learn, or learn about?
Out of all the homes you have lived in, what room have you liked the best?
Now is your chance to express your opinions and views. When you look back at this, you
will be able to see how your ideals may have changed or developed with time.
If you could change three things about your world, what would they be and why?
Imagine that your house is on fire but your family and pets are safe. You have time to get
one single item safely from the flames. What would it be and why?
What makes a good person? Explain your thoughts.
SA
When you create the final project, answers from Lesson 48 could fall into two sections. One
could be called “Likes and Dislikes,” and the other could be called “Serious Subjects.” Each
section will be worth 15 points, so be sure to provide ample information to earn all of the
points.
PL
M
Lesson Wrap-Up: As you participate in this autobiographical work, you can see how
much time and effort goes into self-examination. There are many areas to consider. Think
ahead to your presentation for the autobiographical project. You are going to want to
organize your material effectively.
E
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 49-1
Lesson 49
Autobiography Project
Family ties are bonds that are hard to break. Every family is different. Answer the questions
about your family as honestly as possible.
Who do you live with? Who are the people in your family?
SA
M
Is your family like most others? How are they different?
PL
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What is life like in your family? What makes you a family?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 49-2
Describe how you all get along.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 49-3
What values are important to your family? How do you show it?
SA
PL
M
Tell your favorite family story. Make sure to use lots of detail to describe who, what where,
when and why.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 49-4
Think about your future.
What do you see yourself doing in five, ten, and twenty years? What do you have to do in
the present to make the future vision come true?
SA
Do you want to have a career that involves higher education? Do you want to have a
family?
PL
M
What are some of your personal goals? How do you plan to achieve them?
E
The work you have completed in Lesson 49 could fall into two sections for the final project.
One could be called “Family,” and the other could be called “Thinking Ahead.” Each
section will be worth 15 points. Be sure to include enough information to earn all possible
points.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 50-1
Lesson 50
Autobiography Project
You have two options for presenting your autobiographical project. You can create a
traditional scrapbook or you can create an electronic presentation like a PowerPoint.
Whether you have chosen a digital presentation or a traditional scrapbook, you will be
held to the same requirements. The grading guidelines for the autobiographical project are
given below.
Front Cover Page:
_________ Word Snap Shot (40 points)
SA
A word snap shot is an explanation of who you are! You have already brainstormed
personal information, thoughts and events. Now, find the right words. Begin by taking the
first word on your mind, and writing it in the center of the page. Place additional words
around the main word, such as slang words that you use, fashion terms, buzz words, news
issues, anything that describes you. You may even be more creative by categorizing the
words and separating them in a color coded system. Your work must be visually appealing,
detailed, easy to understand, and neat. It should also reflect who you are.
________ Heart Mapping (40 points)
PL
M
- OR -
What has stayed in your heart? What memories, moments, people, and places can you not
forget? What is at the center of your heart? What is on the edges?
E
Brainstorm a list of things that you have in your heart. Begin to fill in either a hand
drawn heart, or a heart shape template. You may wish to color code your items. Write
an explanation of what is in your heart and why it is there. You do not have to describe
everything. Focus on the things that mean the most to you. The finished heart map should
be visually appealing, detailed, easy to understand, and neat. It should also be descriptive
of what is in your heart.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 50-2
The project should include:
_______ Table of Contents (10 points)
_______ Family Tree (20 points, optional)
_______ On Your Birthday (12 pts)
_______ Being Your Age (18 pts)
_______ A Day in the Life of (21)
_______ Likes and Dislikes (15)
______ Serious Subjects (15)
_______ Family (15)
_______ Thinking Ahead (15)
SA
You may add photos and a dedication for additional personalization. Make this your own!
It should represent you!
You will present your project to your teacher in Lesson 51. If you are not ready at the end
of class time, complete the assignment for homework.
PL
M
Lesson Wrap-Up: Once again, you have come to the end of a large assignment. You have
had opportunities to think about yourself and explore your memories and think about
your future. The final product of your work represents you in a personal and unique way.
Be proud of your work.
E
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 51-1
Lesson 51
Autobiography Project Presentation
Reflective Essay
The first part of this Lesson is your oral presentation of your autobiographical project
to your teacher and peers or family members, if possible. Share your scrapbook or
presentation and answer questions from your audience.
Look at the final product from your autobiographical work. What have you learned about
yourself? How do you think Helen Keller felt when she wrote her story? Can you relate to
her in any way?
SA
You will be responding to the above questions by writing a reflective essay. This will be a
five paragraph essay. Review Lesson 34 if you need to refresh your memory on the format.
You have two options about the subject matter of the essay.
Choose one of the following options:
- OR -
PL
M
You may simply wish to reflect on what you learned about yourself in the autobiography
project.
You may wish to compare your project with Helen Keller’s The Story of My Life. Use
examples from The Story of My Life as well as details from your life. Make comparisons and
contrasts. Develop your own “Quotes” about life, just as Helen did.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 51-2
You will be graded on the following criteria:
SA
PL
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Lesson Wrap-Up: What did you learn about yourself? As you move through your life,
you will discover that your answers to some of the questions posed here will change. As
people grow and become more knowledgeable, their lives move in different directions.
Keep your memory book for later reflection.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 52-1
Lesson 52
Reviewing the Writing Process
By now, you have done several writing pieces. You have been through most of the writing
process, but may have not even known it! In this Lesson, you are going to review each part
of the process, and review paragraph structure.
There are typically five stages in the writing process; Pre-writing, Drafting, Revising, Editing
and Proofreading, and Presentation. Each part is equally important for a quality piece of
writing.
SA
Pre-writing, also called brainstorming, is a quick glance into your thoughts about a
selected subject. There are many methods and ways to complete this. You can use notes,
you can create bubble maps, you can create lists or even just begin to write your thoughts
in paragraph form. Pre-writing is important, as it gets your mind flowing in the right
direction. It also helps you to choose the major details over the minor.
M
Drafting is getting your thoughts down on paper in a rough format. You may not have
all of the details in place, or even all of the right words, but at least you have a beginning
point. From there you can move forward.
PL
Revising is often confused with editing. The revision process is intended for taking out
items that do not belong, adding in more vivid details and filling in the rough spots.
Editing and proofreading are often placed together. In this step, you prepare your writing
for presentation by fixing the grammar and spelling errors, and adding sharper words to
make your writing sparkle.
E
Presentation is the outlet of sharing your writing with others. There are many ways to
present your writing. You can publish online, you can create slide shows, you can create a
scrapbook, you can make posters, or you can create a hard copy of your writing.
These steps of writing do not necessarily have to be followed in order. Many writers begin
with a free write of their ideas, and move around the writing process until they get a
finished product. Just remember, you have to begin somewhere. Effective writing requires
thought, patience, and a willingness to change your work if necessary.
Paragraph structure is integral to good writing. A paragraph is group of sentences
combined to form one complete, detailed thought. Using paragraphs allows you to break
your ideas into logical, detailed sections.
Within the paragraph you should have a main idea or a topic sentence. The topic sentence
is the reason for the entire paragraph. The rest of the paragraph is made up of supporting
details. Usually the topic sentence is directly stated.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 52-2
Can you identify the stated topic sentence in the paragraph below?
The first car I remember was kind of small and was bright green. However, it was the only
transportation my family had. It was very unique in that it could seat six kids, plus two
adults. It must have been magic! I can still hear the seatbelts clicking as we all settled into
the plushy seats for a long family trip. When my dad started the engine, it purred every
time. What a great little ride!
Answer: The first car I remember was kind of small and was bright green.
As you prepare to write, you need to outline your main ideas that you plan to address.
These points can be written as topic sentences or statements of the main ideas. A good
topic sentence tells the reader exactly what the paragraph will be about.
Practice some topic sentences:
1. The condition of your sneakers.
SA
2. A typical summer day in you city.
3. What makes your family different from another?
M
Each topic sentence is supported in the paragraph with either facts, descriptions, statistics
or an illustration. When done properly, the paragraph will be well structured.
PL
Proper paragraph structure is the key to getting your point across. The next time you are
asked to write an essay, a report or whatever, make sure you remember to follow the keys
to a good paragraph.
E
Because paragraphs are the essential building blocks of writing, take some time now to
write some excellent examples. Each paragraph will need a topic sentence, sentences
offering supporting details for the topic sentence, and a conclusion sentence which sums
up your ideas and restates the topic sentence. The key to making your writing pop is
revising and editing the rough draft to make a truly sparkling paragraph.
Your assignment is to write three paragraphs. Choose from the following topics: a
vacation memory, a school field trip, a holiday memory, a goal you have for yourself, a
favorite activity, or your opinion on students having cell phones in class.
Lesson Wrap-Up: The key to good writing is to take your time and always review your
work! As you continue this course, make sure to revisit your assignments and follow the
editing process before turning them in.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 53-1
Lesson 53
Nouns and Pronouns
Nouns are words that name a person, place, thing or idea. Nouns can then be broken
down into more specific nouns, for example: Car is a noun. Mustang, Durango, and Tahoe
are also cars. The different categories of nouns are common and proper, collective and
compound.
Classifying Nouns
Please look at the words listed below and tell whether it is a person, place, thing, or idea.
Kitten
SA
Rope
Leader
Friend
Fear
Movie
Garage
Soap
Personality
Identifying Collective Nouns
PL
M
Doctor
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There are a few nouns that name groups of people of things. For example, a herd is a
group of animals that travel together. Can you identify the collective nouns in each line?
1. necklace
club
fur
2. dish
claw
team
3. bat
ball
litter
4. bow
brush
group
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 53-2
Identifying Compound Nouns
Two words can be used together to form a compound noun. For example: dog and house
are put together to form a new word. Compound nouns can be composed of two separate
words, hyphenated words or combined words.
Can you identify the compound nouns in the sentences below?
1. Some purebreds, such as quarter horses, are good for racing.
2. There are some dog breeds which are better at herding, such as sheepdogs.
3. I attend the local high school.
Identifying Common and Proper Nouns
SA
A common noun is one that names a class of people, places or things. A proper noun
names a specific person place or thing.
Common nouns are not capitalized unless they are found in the beginning of a sentence.
Proper nouns are always capitalized.
Can you identify the common and proper nouns?
2. Spanish
4. city
5. jewelry
7. Africa
8. Honolulu
9. Vase
10. Basket
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6. banana
PL
3. Chihuahua
M
1. statue
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 53-3
Do a quick write about a dog you have known or read about. Use at least two
compound nouns and two proper nouns in your composition.
SA
PL
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 53-4
Pronouns
A pronoun is a word that takes the place of a noun or a group of words.
Example: The teachers described how the teachers prepared for the teachers’ meeting.
With Pronouns: The teachers described how they prepared for their meeting.
The pronouns they and their take place of the word teachers.
Personal pronouns refer to the person speaking, the person spoken to or the person, place
or thing being spoken about. Below is a chart of personal pronouns.
I, me, mine, my
we, us, our ,ours
Second Person
your, you, yours
your, you, yours
Third person
he, him, his, she, hers,
Her, It, its
they, them, their, theirs
SA
First Person
Now that you have learned to identify nouns and pronouns, you will have an opportunity
to demonstrate what you know.
M
Your teacher will provide you with a newspaper. Search the paper for nouns and pronouns.
Take a sheet of paper and make five headings on it: Common Nouns, Proper Nouns, First
Person Pronouns, Second Person Pronouns, and Third Person Pronouns.
PL
Find 20 examples of each type. If the noun is a collective noun or a compound noun, and
you note it, you will receive extra points for identifying them.
Lesson Wrap-Up: Review your lists of nouns; write a sentence using one of each type.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 54-1
Lesson 54
Myth or Legend: Stories of the Oral Tradition
What is oral tradition? Oral traditions are stories that are passed down through the ages
and are told by word of mouth. Most of the stories came from long ago, before books and
even reading was popular. The stories that are now told in print have come from many
versions passed on through the generations.
Some oral traditions are myth and legends. Stories of gods and goddesses, epic adventures,
and strange animals are often brought to life from these oral tales. Although it is difficult
to pinpoint the origin of these stories, they are still popular and passed down from one
generation to the next.
SA
Through oral tradition, we learn about cultures and lifestyles of the past. All of the stories
do carry a common tradition of adapting the setting to adjust to the times.
M
In oral tradition, theme is the most important element. It is the message or main idea that
carries through time and across cultures. For example, Cinderella is a beautiful girl who
is oppressed by her step-family. This theme is discussed in other cultures, including Native
American, German and French.
Types of Oral Tradition
PL
Most of our oral traditional stories have a hero or a heroine. These are usually the main
characters who have some super-human quality that enables him or her to save the day.
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Myths are stories that are often told to explain how something came to be or to happen.
Native Americans use myths to explain nature and its happenings. Greeks and Romans used
myths to tell about the gods and goddesses who made the world the way it was.
Legends are stories usually believed to be true, but cannot be verified. Most of the time,
legends are based on real-life events and considered by many to be historical. Sometimes
the stories become exaggerated or sensationalized.
Conduct an Internet search to locate one myth and one legend. Read and summarize each
one. Be sure to include the title, the author if there is one, and the culture from which
the myth and legend came. When you have completed that exercise, you will be ready to
report on your own family traditions.
Think about a memorable time with your family. Do you have any traditions? Do you
celebrate special occasions? What types of things do you typically do?
Using the oral tradition reading as a guide, brainstorm your memorable moments or
traditions. When you are finished, share your story verbally with your teacher. You will
have just created your own oral tradition.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 54-2
Lesson Wrap-Up: Reading myths and legends is enjoyable. Humor is often an element.
Sometimes heroism or great exploits are celebrated. Quirky explanations for natural events
are offered. In addition, myths and legends connect us with our past and show similarities
between cultures. They connect us with each other across time and across cultures.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 55-1
Lesson 55
Why is the Sky Blue?
Myths have been around almost as long as people. It is part of human nature to
question, “Why?” People want to know why events happen as they do. People want
explanations for natural phenomena. Myths are attempts to explain what was at one time
unexplainable. Myths are often charming and usually clever.
It is time to try your hand at writing a creation myth! Think about why the sky is blue. Is it
really about moisture in the air and the reflections of the water? Is it because there is an
ocean in space that is held up by gravity? What do you think? The following tips will help
you in creating your own myth.
t Think of a creative explanation.
t How many characters are in your myth? Are elements of nature included?
t How will your hero or heroine help in the story?
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Before you begin, do some brainstorming to get some ideas flowing. Then, create a myth
which is a minimum of two pages in length. Include dialogue between the characters.
Remember, when writing dialogue, that a new paragraph begins every time a different
speaker speaks. Use sensory words to make your writing vivid and alive for the reader. Use
your imagination.
Select one of the topics below, or create a myth on a topic of your choice. Be sure to clear
your choice with your teacher.
Why the sky is blue
Why ducks quack
Why Grandpa snores
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Why cats purr
Lesson Wrap-Up: Share your myth with other people so they can enjoy your creativity,
also.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 56-1
Lesson 56
Introduction to The Legend of Sleepy Hollow
by Washington Irving
The quiet Dutch community of Sleepy Hollow lay in the Adirondack Mountains on the
Western shore of the mighty Hudson River in America’s colonial period. The solitude of the
woods was breathtaking, and not even a schoolmaster was immune from the eerie vapor,
which everyone knew saturated the dense forest. Written in 1820, Washington Irving’s The
Legend of Sleepy Hollow has become a classic of American literature, and has been retold
in many different ways.
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Using your notebook, place a dot on every other line in the left hand margin. At the top
of your paper, write, “Headless Horseman.” Next, think about what you have heard, read
or watched that has given you information about the “Headless Horseman.” Write down
everything you remember. You do not need to write an essay. Just simply write. Here are
two tips: do not stop writing and if you get stuck, rewrite the last thing over and over
again until a new idea finds its way into your pencil.
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Whew! You’re finished! Share your findings with your teacher. Ask you teacher about his
or her recollections about the “Headless Horseman.” How do your views differ? How are
they alike?
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Before you begin the first Vocabulary activity, and reading, you will need to mentally
prepare yourself for what is to come.
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After the brief summary, and recollection about the “Headless Horseman,” it is time to
make predictions about the story. Follow the steps below to make a Fiction Prediction
Sheet or use the one provided for you.
Divide your paper into three portions. In the left hand portion, write, “What I already
know.” In the center portion, write, “What I think will happen.” In the right hand
column, write, “What really happened.”
You are ready to fill in the first two columns for your reading. Keep this paper handy
because you will be referring back to it throughout the unit.
Lesson Wrap-Up: Washington Irving has truly created a timeless classic with his story The
Legend of Sleepy Hollow. As you read the story, pay close attention to the characters. Try
to relate them to people you know or another character from something you have read or
watched. That will help you to form an opinion about the timelessness of Irving’s writing.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 56-2
What I already know What I think will happen
What really happened
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-1
Lesson 57
The Legend of Sleepy Hollow
by Washington Irving
If you do not know what the words mean, is it possible to truly understand the text? What
do you think? Washington Irving was very creative and masterful with his use of words.
He often wrote words that were popular in the time period, which are probably words we
would not use in conversation today. The genius of his word use is just one aspect of the
story that continues to draw readers in. His words create an authentic experience.
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To begin your Vocabulary exercise, fold a sheet of paper into three equal sections. In the
left hand top margin, write, “What I think it means.” In the right hand top margin, write,
“Why I think this.” In the center column, you will write your word list down the center of
the paper.
The Vocabulary words for this lesson are: Indolence; Denominated; Prudent; Implore;
Inveterate; Propensity; Tranquility; Reverberated; and Sequestered.
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Now that you have your words, fill in your “What I think it means” column; write down
your idea of the word means. If you do not have any idea, that’s ok. Take a guess first and
then get out a dictionary.
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Now, skim through the reading until you find the word. Write down the context sentence
in which it appears. If your definition or idea of the word changes due to the context,
change it! It’s ok!
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Now that you have successfully completed the Vocabulary activity, you are ready to read.
Begin reading The Legend of Sleepy Hollow, Section One. When you’re finished, complete
the Comprehension Questions.
Lesson Wrap-Up: Take out your Fiction Prediction sheet. Were you right? What really
happened? Make a prediction for tomorrow’s reading
STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-2
What I already know What I think will happen
What really happened
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-3
Comprehension Questions
What have you learned about Ichabod Crane so far?
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What is his philosophy for teaching a child? Explain whether or not you agree with his
style.
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What can be determined about Ichabod due to his odd mannerisms?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-4
The Legend of Sleepy Hollow
Section One
FOUND AMONG THE PAPERS OF THE LATE DIEDRICH KNICKERBOCKER.
A pleasing land of drowsy head it was,
Of dreams that wave before the half-shut eye;
And of gay castles in the clouds that pass,
Forever flushing round a summer sky.
CASTLE OF INDOLENCE.
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In the bosom of one of those spacious coves which indent the eastern shore of the Hudson, at that
broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and
where they always prudently shortened sail and implored the protection of St. Nicholas when
they crossed, there lies a small market town or rural port, which by some is called Greensburgh,
but which is more generally and properly known by the name of Tarry Town. This name was
given, we are told, in former days, by the good housewives of the adjacent country, from the
inveterate propensity of their husbands to linger about the village tavern on market days. Be
that as it may, I do not vouch for the fact, but merely advert to it, for the sake of being precise and
authentic.
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Not far from this village, perhaps about two miles, there is a little valley or rather lap of land
among high hills, which is one of the quietest places in the whole world. A small brook glides
through it, with just murmur enough to lull one to repose; and the occasional whistle of a quail
or tapping of a woodpecker is almost the only sound that ever breaks in upon the uniform
tranquility.
I recollect that, when a stripling, my first exploit in squirrel-shooting was in a grove of tall walnuttrees that shades one side of the valley. I had wandered into it at noontime, when all nature is
peculiarly quiet, and was startled by the roar of my own gun, as it broke the Sabbath stillness
around and was prolonged and reverberated by the angry echoes. If ever I should wish for a
retreat whither I might steal from the world and its distractions, and dream quietly away the
remnant of a troubled life, I know of none more promising than this little valley.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-5
From the listless repose of the place, and the peculiar character of its inhabitants, who are
descendants from the original Dutch settlers, this sequestered glen has long been known by the
name of SLEEPY HOLLOW, and its rustic lads are called the Sleepy Hollow Boys throughout all
the neighboring country. A drowsy, dreamy influence seems to hang over the land, and to pervade
the very atmosphere. Some say that the place was bewitched by a High German doctor, during
the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe,
held his powwows there before the country was discovered by Master Hendrick Hudson. Certain
it is, the place still continues under the sway of some witching power, that holds a spell over the
minds of the good people, causing them to walk in a continual reverie. They are given to all kinds
of marvelous beliefs, are subject to trances and visions, and frequently see strange sights, and hear
music and voices in the air. The whole neighborhood abounds with local tales, haunted spots, and
twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other
part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite
scene of her gambols.
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The dominant spirit, however, that haunts this enchanted region, and seems to be commanderin-chief of all the powers of the air, is the apparition of a figure on horseback, without a head.
It is said by some to be the ghost of a Hessian trooper, whose head had been carried away by a
cannon-ball, in some nameless battle during the Revolutionary War, and who is ever and anon
seen by the country folk hurrying along in the gloom of night, as if on the wings of the wind. His
haunts are not confined to the valley, but extend at times to the adjacent roads, and especially to
the vicinity of a church at no great distance. Indeed, certain of the most authentic historians of
those parts, who have been careful in collecting and collating the floating facts concerning this
specter, allege that the body of the trooper having been buried in the churchyard, the ghost rides
forth to the scene of battle in nightly quest of his head, and that the rushing speed with which he
sometimes passes along the Hollow, like a midnight blast, is owing to his being
belated, and in a hurry to get back to the churchyard before daybreak.
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Such is the general purport of this legendary superstition, which has furnished materials for many
a wild story in that region of shadows; and the specter is known at all the country firesides, by the
name of the Headless Horseman of Sleepy Hollow.
It is remarkable that the visionary propensity I have mentioned is not confined to the native
inhabitants of the valley, but is unconsciously imbibed by everyone who resides there for a time.
However wide awake they may have been before they entered that sleepy region, they are sure, in
a little time, to inhale the witching influence of the air, and begin to grow imaginative, to dream
dreams, and see apparitions.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 57-6
I mention this peaceful spot with all possible laud, for it is in such little retired Dutch valleys,
found here and there embosomed in the great State of New York, that population, manners, and
customs remain fixed, while the great torrent of migration and improvement, which is making
such incessant changes in other parts of this restless country, sweeps by them unobserved. They
are like those little nooks of still water, which border a rapid stream, where we may see the straw
and bubble riding quietly at anchor, or slowly revolving in their mimic harbor, undisturbed by the
rush of the passing current. Though many years have elapsed since I trod the drowsy shades of
Sleepy Hollow, yet I question whether I should not still find the same trees and the same families
vegetating in its sheltered bosom.
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In this by-place of nature there abode, in a remote period of American history, that is to say,
some thirty years since, a worthy wight of the name of Ichabod Crane, who sojourned, or, as
he expressed it, “tarried,” in Sleepy Hollow, for the purpose of instructing the children of the
vicinity. He was a native of Connecticut, a State which supplies the Union with pioneers for the
mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country
schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but
exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his
sleeves, feet that might have served for shovels, and his whole frame most loosely hung together.
His head was small, and flat at top, with huge ears, large green glassy eyes, and a long snipe nose,
so that it looked like a weather-cock perched upon his spindle neck to tell which way the wind
blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and
fluttering about him, one might have mistaken him for the genius of famine descending upon the
earth, or some scarecrow eloped from a cornfield.
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His schoolhouse was a low building of one large room, rudely constructed of logs; the windows
partly glazed, and partly patched with leaves of old copybooks. It was most ingeniously secured
at vacant hours, by a withe twisted in the handle of the door, and stakes set against the window
shutters; so that though a thief might get in with perfect ease, he would find some embarrassment
in getting out,--an idea most probably borrowed by the architect, Yost Van Houten, from the
mystery of an eelpot. The schoolhouse stood in a rather lonely but pleasant situation, just at
the foot of a woody hill, with a brook running close by, and a formidable birch-tree growing
at one end of it. From hence the low murmur of his pupils’ voices, conning over their Lessons,
might be heard in a drowsy summer’s day, like the hum of a beehive; interrupted now and then
by the authoritative voice of the master, in the tone of menace or command, or, peradventure,
by the appalling sound of the birch, as he urged some tardy loiterer along the flowery path of
knowledge. Truth to say, he was a conscientious man, and ever bore in mind the golden maxim,
“Spare the rod and spoil the child.” Ichabod Crane’s scholars certainly were not spoiled.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-1
Lesson 58
The Legend of Sleepy Hollow
by Washington Irving
As you did in Lesson 57, prepare your Vocabulary assignment before you do the reading
for this Lesson. Follow the same guidelines; refer to Lesson 57 if you wish to reread the
directions.
The Vocabulary words for this Lesson are: Gambol; Apparition; Anon; Specter; Allege;
Imbibed; Embosomed; Incessant; Wight; Sojourned; Tarried; Inapplicable; Formidable;
Menace; Appalling; Conscientious. Potentates; Consolatory; and Behooved.
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Now that you have successfully completed the Vocabulary activity, you are ready to read
Section Two of Irving’s The Legend of Sleepy Hollow.
Lesson Wrap-Up: You are reading a classic story from early American literature. It
was written almost two hundred years ago, but Ichabod Crane is alive and well in the
imaginations of readers in the twenty-first century.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-2
The Legend of Sleepy Hollow
Section Two
I would not have it imagined, however, that he was one of those cruel potentates of the school
who joy in the smart of their subjects; on the contrary, he administered justice with discrimination
rather than severity; taking the burden off the backs of the weak, and laying it on those of the
strong. Your mere puny stripling, that winced at the least flourish of the rod, was passed by with
indulgence; but the claims of justice were satisfied by inflicting a double portion on some little
tough wrong-headed, broad-skirted Dutch urchin, who sulked and swelled and grew dogged and
sullen beneath the birch. All this he called “doing his duty by their parents;” and he never inflicted
a chastisement without following it by the assurance, so consolatory to the smarting urchin, that
“he would remember it and thank him for it the longest day he had to live.”
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When school hours were over, he was even the companion and playmate of the larger boys; and
on holiday afternoons would convoy some of the smaller ones home, who happened to have
pretty sisters, or good housewives for mothers, noted for the comforts of the cupboard. Indeed,
it behooved him to keep on good terms with his pupils. The revenue arising from his school was
small, and would have been scarcely sufficient to furnish him with daily bread, for he was a huge
feeder, and, though lank, had the dilating powers of an anaconda; but to help out his maintenance,
he was, according to country custom in those parts, boarded and lodged at the houses of the
farmers whose children he instructed. With these he lived successively a week at a time, thus going
the rounds of the neighborhood, with all his worldly effects tied up in a cotton handkerchief.
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That all this might not be too onerous on the purses of his rustic patrons, who are apt to consider
the costs of schooling a grievous burden, and schoolmasters as mere drones, he had various ways
of rendering himself both useful and agreeable. He assisted the farmers
occasionally in the lighter labors of their farms, helped to make hay, mended the fences, took the
horses to water, drove the cows from pasture, and cut wood for the winter fire. He laid aside, too,
all the dominant dignity and absolute sway with which he lorded it in his little empire, the school,
and became wonderfully gentle and ingratiating. He found favor in the eyes of the mothers
by petting the children, particularly the youngest; and like the lion bold, which whilom so
magnanimously the lamb did hold, he would sit with a child on one knee, and rock a cradle with
his foot for whole hours together.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-3
In addition to his other vocations, he was the singing-master of the neighborhood, and picked
up many bright shillings by instructing the young folks in psalmody. It was a matter of no little
vanity to him on Sundays, to take his station in front of the church gallery, with a band of chosen
singers; where, in his own mind, he completely carried away the palm from the parson. Certain
it is, his voice resounded far above all the rest of the congregation; and there are peculiar quavers
still to be heard in that church, and which may even be heard half a mile off, quite to the opposite
side of the millpond, on a still Sunday morning, which are said to be legitimately descended
from the nose of Ichabod Crane. Thus, by divers little makeshifts, in that ingenious way which is
commonly denominated “by hook and by crook,” the worthy pedagogue got on tolerably enough,
and was thought, by all who understood nothing of the labor of headwork, to have a wonderfully
easy life of it.
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The schoolmaster is generally a man of some importance in the female circle of a rural
neighborhood; being considered a kind of idle, gentlemanlike personage, of vastly superior taste
and accomplishments to the rough country swains, and, indeed, inferior in learning only to the
parson. His appearance, therefore, is apt to occasion some little stir at the tea-table of a farmhouse,
and the addition of a supernumerary dish of cakes or sweetmeats, or, peradventure, the parade of
a silver teapot. Our man of letters, therefore, was peculiarly happy in the smiles of all the country
damsels. How he would figure among them in the churchyard, between services on Sundays;
gathering grapes for them from the wild vines that overran the surrounding trees; reciting for
their amusement all the epitaphs on the tombstones; or sauntering, with a whole bevy of them,
along the banks of the adjacent millpond; while the more bashful country bumpkins hung
sheepishly back, envying his superior elegance and address.
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From his half-itinerant life, also, he was a kind of traveling gazette, carrying the whole budget of
local gossip from house to house, so that his appearance was always greeted with satisfaction. He
was, moreover, esteemed by the women as a man of great erudition, for he had read several books
quite through, and was a perfect master of Cotton Mather’s “History of New England Witchcraft,”
in which, by the way, he most firmly and potently believed.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-4
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He was, in fact, an odd mixture of small shrewdness and simple credulity. His appetite for
the marvelous, and his powers of digesting it, were equally extraordinary; and both had been
increased by his residence in this spellbound region. No tale was too gross or monstrous for
his capacious swallow. It was often his delight, after his school was dismissed in the afternoon,
to stretch himself on the rich bed of clover bordering the little brook that whimpered by his
schoolhouse, and there con over old Mather’s direful tales, until the gathering dusk of evening
made the printed page a mere mist before his eyes. Then, as he wended his way by swamp and
stream and awful woodland, to the farmhousewhere he happened to be quartered, every sound
of nature, at that witching hour, fluttered his excited imagination,--the moan of the whip-poorwill from the hillside, the boding cry of the tree toad, that harbinger of storm, the dreary hooting
of the screech owl, or thesudden rustling in the thicket of birds frightened from their roost. The
fireflies, too, which sparkled most vividly in the darkest places, now and then startled him, as one
of uncommon brightness would stream across his path; and if, by chance, a huge blockhead of a
beetle came winging his blundering flight against him, the poor varlet was ready to give up the
ghost, with the idea that he was struck with a witch’s token. His only resource on such occasions,
either to drown thought or drive away evil spirits, was to sing psalm tunes and the good people
of Sleepy Hollow, as they sat by their doors of an evening, were often filled with awe at hearing
his nasal melody, “in linked sweetness long drawn out,” floating from the distant hill, or along the
dusky road.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-5
Comprehension Questions
Describe Ichabod’s living arrangements and tell why he was welcomed into his hosts’
homes.
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Can you think of someone who reminds you of Ichabod? Describe that person.
What is happening at this point of the story?
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 58-6
How has Irving captured your attention?
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Make a prediction for tomorrow’s reading.
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Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-1
Lesson 59
The Legend of Sleepy Hollow
by Washington Irving
Once again, set up your paper to work on your Vocabulary assignment. Use the same
format that you used in Lessons 57 and 58.
The Vocabulary words for this lesson are: Onerous; Grievous; Ingratiating;
Magnanimously; Psalmody; Ingenious; Pedagogue; Personage; and Supernumerary.
Now that you have successfully completed the Vocabulary activity, you are ready to read.
When you are finished, complete the following Comprehension Questions.
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Comprehension Questions
Describe the characters introduced in this section.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-2
How has Ichabod’s character changed?
What new element was brought in as a distraction?
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How does the introduction of a female character change this story?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-3
Look at your Fiction Prediction sheet. How accurate was your prediction? Make a prediction
for the next section.
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Lesson Wrap-Up: Irving has introduced a new element to Ichabod’s personality, the
lovelorn suitor. The reader sees that life is about to change for Ichabod. What will the next
section of the story hold?
STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-4
The Legend of Sleepy Hollow
Section Three
Another of his sources of fearful pleasure was to pass long winter evenings with the old Dutch
wives, as they sat spinning by the fire, with a row of apples roasting and spluttering along the
hearth, and listen to their marvelous tales of ghosts and goblins, and haunted fields, and haunted
brooks, and haunted bridges, and haunted houses, and particularly of the headless horseman, or
Galloping Hessian of the Hollow, as they sometimes called him. He would delight them equally
by his anecdotes of witchcraft, and of the direful omens and portentous sights and sounds in
the air, which prevailed in the earlier times of Connecticut; and would frighten them woefully
with speculations upon comets and shooting stars; and with the alarming fact that the world did
absolutely turn round, and that they were half the time topsy-turvy!
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But if there was a pleasure in all this, while snugly cuddling in the chimney corner of a chamber
that was all of a ruddy glow from the crackling wood fire, and where, of course, no specter dared
to show its face, it was dearly purchased by the terrors of his subsequent walk homewards. What
fearful shapes and shadows beset his path, amidst the dim and ghastly glare of a snowy night!
With what wistful look did he eye every trembling ray of light streaming across the waste fields
from some distant window! How often was he appalled by some shrub covered with snow, which,
like a sheeted specter, beset his very path! How often did he shrink with curdling awe at the
sound of his own steps on the frosty crust beneath his feet; and dread to look over his shoulder,
lest he should behold some uncouth being tramping close behind him! And how often was he
thrown into complete dismay by some rushing blast, howling among the trees, in the idea that it
was the Galloping Hessian on one of his nightly scorings!
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All these, however, were mere terrors of the night, phantoms of the mind that walk in darkness;
and though he had seen many specters in his time, and been more than once beset by Satan in
divers shapes, in his lonely perambulations, yet daylight put an end to all these evils; and he would
have passed a pleasant life of it, in despite of the Devil and all his works, if his path had not been
crossed by a being that causes more perplexity to mortal man than ghosts, goblins, and the whole
race of witches put together, and that was--a woman.
Among the musical disciples who assembled, one evening in each week, to receive his instructions
in psalmody, was Katrina Van Tassel, the daughter and only child of a substantial Dutch farmer.
She was a blooming lass of fresh eighteen; plump as a partridge; ripe and melting and rosycheeked as one of her father’s peaches, and universally famed, not merely for her beauty, but
her vast expectations. She was withal a little of a coquette, as might be perceived even in her
dress, which was a mixture of ancient and modern fashions, as most suited to set off her charms.
She wore the ornaments of pure yellow gold, which her great-great-grandmother had brought
over from Saardam; the tempting stomacher of the olden time, and withal a provokingly short
petticoat, to display the prettiest foot and ankle in the country round.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-5
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Ichabod Crane had a soft and foolish heart towards the sex; and it is not to be wondered at that
so tempting a morsel soon found favor in his eyes, more especially after he had visited her in her
paternal mansion. Old Baltus Van Tassel was a perfect picture of a thriving, contented, liberalhearted farmer. He seldom, it is true, sent either his eyes or his thoughts beyond the boundaries of
his own farm; but within those everything was snug, happy and well conditioned. He was satisfied
with his wealth, but not proud of it; and piqued himself upon the hearty abundance, rather than
the style in which he lived. His stronghold was situated on the banks of the Hudson, in one of
those green, sheltered, fertile nooks in which the Dutch farmers are so fond of nestling. A great
elm tree spread its broad branches over it, at the foot of which bubbled up a spring of the softest
and sweetest water, in a little well formed of a barrel; and then stole sparkling away through the
grass, to a neighboring brook that babbled along among alders and dwarf willows. Hard by the
farmhouse was a vast barn, that might have served for a church; every window and crevice of
which seemed bursting forth with the treasures of the farm; the flail was busily resounding within
it from morning to night; swallows and martins skimmed twittering about the eaves; and rows of
pigeons, some with one eye turned up, as if watching the weather, some with their heads under
their wings or buried in their bosoms, and others swelling, and cooing, and bowing about their
dames, were enjoying the sunshine on the roof. Sleek unwieldy porkers were grunting in the
repose and abundance of their pens, from whence sallied forth, now and then, troops of sucking
pigs, as if to snuff the air. A stately squadron of snowy geese were riding in an adjoining pond,
convoying whole fleets of ducks; regiments of turkeys were gobbling through the farmyard, and
Guinea fowls fretting about it, like ill-tempered housewives, with their peevish, discontented cry.
Before the barn door strutted the gallant cock, that pattern of a husband, a warrior and a fine
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gentleman, clapping his burnished wings and crowing in the pride and gladness of his heart,-sometimes tearing up the earth with his feet, and then generously calling his ever-hungry family
of wives and children to enjoy the rich morsel which he had discovered.
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The pedagogue’s mouth watered as he looked upon this sumptuous promise of luxurious winter
fare. In his devouring mind’s eye, he pictured to himself every roasting-pig running about
with a pudding in his belly, and an apple in his mouth; the pigeons were snugly put to bed in a
comfortable pie, and tucked in with a coverlet of crust; the geese were swimming in their own
gravy; and the ducks pairing cozily in
dishes, like snug married couples, with
a decentcompetency of onion sauce. In
the porkers he saw carved out the future
sleek side of bacon, and juicy relishing
ham; not a turkey but he beheld daintily
trussed up, with its gizzard under its
wing, and, peradventure, a necklace
of savory sausages; and even bright
chanticleer himself lay sprawling on his
back, in a side dish, with uplifted claws,
as if craving that quarter which his
chivalrous spirit disdained to ask while
living.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 59-6
As the enraptured Ichabod fancied all this, and as he rolled his great green eyes over the fat
meadow lands, the rich fields of wheat, of rye, of buckwheat, and Indian corn, and the orchards
burdened with ruddy fruit, which surrounded the warm tenement of Van Tassel, his heart yearned
after the damsel who was to inherit these domains, and his imagination expanded with the idea,
how they might be readily turned into cash, and the money invested in immense tracts of wild
land, and shingle palaces in the wilderness. Nay, his busy fancy already realized his hopes, and
presented to him the blooming Katrina, with a whole family of children, mounted on the top of
a wagon loaded with household trumpery, with pots and kettles dangling beneath; and he beheld
himself bestriding a pacing mare, with a colt at her heels, setting out for Kentucky, Tennessee,--or
the Lord knows where!
SA
When he entered the house, the conquest of his heart was complete. It was one of those spacious
farmhouses, with high-ridged but lowly sloping roofs, built in the style handed down from the
first Dutch settlers; the low projecting eaves forming a piazza along the front, capable of being
closed up in bad weather. Under this were hung flails, harness, various utensils of husbandry,
and nets for fishing in the neighboring river. Benches were built along the sides for summer
use; and a great spinning-wheel at one end, and a churn at the other, showed the various uses to
which this important porch might be devoted. From this piazza the wondering Ichabod entered
the hall, which formed the centre of the mansion, and the place of usual residence. Here rows of
resplendent pewter, ranged on a long dresser, dazzled his eyes. In one corner stood a huge bag of
wool, ready to be spun; in another, a quantity of linsey-woolsey just from the loom; ears of Indian
corn, and strings of dried apples and peaches, hung in gay festoons along the walls, mingled with
the gaud of red peppers; and a door left ajar gave him a peep into the best parlor, where the clawfooted chairs and dark mahogany tables shone like mirrors; andirons, with their accompanying
shovel and tongs, glistened from their covert of asparagus tops; mock-oranges and conch-shells
decorated the mantelpiece; strings of various-colored birds eggs were suspended above it; a great
ostrich egg was hung from the centre of the room, and a corner cupboard, knowingly left open,
displayed immense treasures of old silver and well-mended china.
PL
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From the moment Ichabod laid his eyes upon these regions of delight, the peace of his mind was
at an end, and his only study was how to gain the affections of the peerless daughter of Van Tassel.
In this enterprise, however, he had more real difficulties than generally fell to the lot of a knighterrant of yore, who seldom had anything but giants, enchanters, fiery dragons, and such like easily
conquered adversaries, to contend with and had to make his way merely through gates of iron and
brass, and walls of adamant to the castle keep, where the lady of his heart was confined; all which
he achieved as easily as a man would carve his way to the centre of a Christmas pie; and then the
lady gave him her hand as a matter of course. Ichabod, on the contrary, had to win his way to the
heart of a country coquette, beset with a labyrinth of whims and caprices, which were forever
presenting new difficulties and impediments; and he had to encounter a host of fearful adversaries
of real flesh and blood, the numerous rustic admirers, who beset every portal to her heart, keeping
a watchful and angry eye upon each other, but ready to fly out in the common cause against any
new competitor.
Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 60-1
Lesson 60
The Legend of Sleepy Hollow
Washington Irving
In this Lesson, you will read the fourth section of The Legend of Sleepy Hollow. Once
again, you will begin with the Vocabulary work. You will follow the same procedure as in
the previous The Legend of Sleepy Hollow Lessons.
The Vocabulary words for this Lesson are: Epitaphs; Sauntering; Erudition;
Shrewdness; Capacious; Harbinger; Anecdotes; Direful; and Portentous.
Now that you have successfully completed the Vocabulary activity, you are ready to read.
SA
When you are finished reading, answer the following Comprehension Questions.
Comprehension Questions
PL
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Thinking about the elements of plot, begin your diagram of each element, exposition,
rising action, climax, falling action and resolution. You will not be able to complete the
chart yet, but do the best you can.
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As a review, you will remember that the exposition is the introduction to the story. It sets
the tone, introduces the characters and gives the setting. The rising action is the events
which build from the conflict. Conflict is the struggle in which the main character engages.
The climax is the place where the conflict reaches a turning point. The falling action is the
events that follow the climax. The resolution is the end of the story and rounds out the
action.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 60-2
What are two conflicts that have been discovered in this story so far?
Tell about a time when you had a similar conflict. Tell about a similar conflict from a movie
or book?
SA
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How has Washington Irving kept your attention so far?
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Look at your Fiction Prediction sheet. Was your prediction accurate? Make another
prediction for the next section of the story.
Lesson Wrap-Up: The action begins to pick up in Section Four. As it does, the reader’s
interest becomes piqued and looks forward to the next portion of the story. Enjoy the time
spent reading about days gone by.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 60-3
The Legend of Sleepy Hollow
Section Four
SA
Among these, the most formidable was a burly, roaring, roistering blade, of the name of
Abraham, or, according to the Dutch abbreviation, Brom Van Brunt, the hero of the country
round, which rang with his feats of strength and hardihood. He was broad-shouldered and
double-jointed, with short curly black hair, and a bluff but not unpleasant countenance, having
a mingled air of fun and arrogance. From his Herculean frame and great powers of limb he had
received the nickname of BROM BONES, by which he was universally known. He was famed
for great knowledge and skill in horsemanship, being as dexterous on horseback as a Tartar. He
was foremost at all races and cockfights; and, with the ascendancy which bodily strength always
acquires in rustic life, was the umpire in all disputes, setting his hat on one side, and giving his
decisions with an air and tone that admitted of no gainsay or appeal. He was always ready for
either a fight or a frolic; but had more mischief than ill-will in his composition; and with all his
overbearing roughness, there was a strong dash of waggish good humor at bottom. He had three
or four boon companions, who regarded him as their model, and at the head of whom he scoured
the country, attending every scene of feud or merriment for miles round. In cold weather he was
distinguished by a fur cap, surmounted with a flaunting fox’s tail; and when the folks at a country
gathering descried this well-known crest at a distance, whisking about among a squad of hard
riders, they always stood by for a squall. Sometimes his crew would be heard dashing along past
the farmhouses at midnight, with whoop and halloo, like a troop of Don Cossacks; and the old
dames, startled out of their sleep, would listen for a moment till the hurry-scurry had clattered
by, and then exclaim, “Ay, there goes Brom Bones and his gang!” The neighbors looked upon him
with a mixture of awe, admiration, and good-will; and, when any madcap prank or rustic brawl
occurred in the vicinity, always shook their heads, and warranted Brom Bones was at the bottom
of it.
PL
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This rantipole hero had for some time singled out the blooming Katrina for the object of his
uncouth gallantries, and though his amorous toyings were something like the gentle caresses
and endearments of a bear, yet it was whispered that she did not altogether discourage his hopes.
Certain it is, his advances were signals for rival candidates to retire, who felt no inclination to
cross a lion in his amours; insomuch, that when his horse was seen tied to Van Tassel’s paling, on
a Sunday night, a sure sign that his master was courting, or, as it is termed, “sparking,” within, all
other suitors passed by in despair, and carried the war into other quarters.
Such was the formidable rival with whom Ichabod Crane had to contend, and, considering all
things, a stouter man than he would have shrunk from the competition, and a wiser man would
have despaired. He had, however, a happy mixture of pliability and perseverance in his nature; he
was in form and spirit like a supple-jack--yielding, but tough; though he bent, he never broke; and
though he bowed beneath the slightest pressure, yet, the moment it was away--jerk!--he was as
erect, and carried his head as high as ever.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 60-4
To have taken the field openly against his rival would have been madness; for he was not a man
to be thwarted in his amours, any more than that stormy lover, Achilles. Ichabod, therefore, made
his advances in a quiet and gently insinuating manner. Under cover of his character of singingmaster, he made frequent visits at the farmhouse; not that he had anything to apprehend from the
meddlesome interference of parents, which is so often a stumbling block in the path of lovers. Balt
Van Tassel was an easy indulgent soul; he loved his daughter better even than his pipe, and, like a
reasonable man and an excellent father, let her have her way in everything. His notable little wife,
too, had enough to do to attend to her housekeeping and manage her poultry; for, as she sagely
observed, ducks and geese are foolish things, and must be looked after, but girls can take care
of themselves. Thus, while the busy dame bustled about the house, or plied her spinning-wheel
at one end of the piazza, honest Balt would sit smoking his evening pipe at the other, watching
the achievements of a little wooden warrior, who, armed with a sword in each hand, was most
valiantly fighting the wind on the pinnacle of the barn. In the mean time, Ichabod would carry on
his suit with the daughter by the side of the spring under the great elm, or sauntering along in the
twilight, that hour so favorable to the lover’s eloquence.
SA
PL
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I profess not to know how women’s hearts are wooed and won. To me they have always been
matters of riddle and admiration. Some seem to have but one vulnerable point, or door of access;
while others have a thousand avenues, and may be captured in a thousand different ways. It is
a great triumph of skill to gain the former, but a still greater proof of generalship to maintain
possession of the latter, for man must battle for his fortress at every door and window. He
who wins a thousand common hearts is therefore entitled to some renown; but he who keeps
undisputed sway over the heart of a coquette is indeed a hero. Certain it is, this was not the case
with the redoubtable Brom Bones; and from the moment Ichabod Crane made his advances,
the interests of the former evidently declined: his horse was no longer seen tied to the palings
on Sunday nights, and a deadly feud gradually arose between him and the preceptor of Sleepy
Hollow.
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Brom, who had a degree of rough chivalry in his nature, would fain have carried matters to
open warfare and have settled their pretensions to the lady, according to the mode of those most
concise and simple reasoners, the knights-errant of yore,--by single combat; but Ichabod was too
conscious of the superior might of his adversary to enter the lists against him; he had overheard
a boast of Bones, that he would “double the schoolmaster up, and lay him on a shelf of his own
schoolhouse;” and he was too wary to give him an opportunity. There was something extremely
provoking in this obstinately pacific system; it left Brom no alternative but to draw upon the
funds of rustic jocularity in his disposition, and to play off boorish practical jokes upon his rival.
Ichabod became the object of whimsical persecution to Bones and his gang of rough riders. They
harried his hitherto peaceful domains; smoked out his singing school by stopping up the chimney;
broke into the schoolhouse at night, in spite of its formidable fastenings of with and window
stakes, and turned everything topsy-turvy, so that the poor schoolmaster began to think all the
witches in the country held their meetings there. But what was still more annoying, Brom took
all opportunities of turning him into ridicule in presence of his mistress, and had a scoundrel dog
whom he taught to whine in the most ludicrous manner, and introduced as a rival of Ichabod’s, to
instruct her in psalmody.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 60-5
SA
In this way matters went on for some time, without producing any material effect on the relative
situations of the contending powers. On a fine autumnal afternoon, Ichabod, in pensive mood, sat
enthroned on the lofty stool from whence he usually watched all the concerns of his little literary
realm. In his hand he swayed a ferule, that scepter of despotic power; the birch of justice reposed
on three nails behind the throne, a constant terror to evildoers, while on the desk before him
might be seen sundry contraband articles and prohibited weapons, detected upon the persons of
idle urchins, such as half-munched apples, popguns, whirligigs, fly-cages, and whole legions of
rampant little paper gamecocks. Apparently there had been some appalling act of justice recently
inflicted, for his scholars were all busily intent upon their books, or slyly whispering behind them
with one eye kept upon the master; and a kind of buzzing stillness reigned throughout the
schoolroom. It was suddenly interrupted by the appearance of a negro in tow-cloth jacket and
trousers, a round-crowned fragment of a hat, like the cap of Mercury, and mounted on the back
of a ragged, wild, half-broken colt, which he managed with a rope by way of halter. He came
clattering up to the school door with an invitation to Ichabod to attend a merry-making or
“quilting frolic,” to be held that evening at Mynheer Van Tassel’s; and having delivered his message
with that air of importance, and effort at fine language, which a negro is apt to display on petty
embassies of the kind, he dashed over the brook, and was seen scampering away up the hollow,
full of the importance and hurry of his
mission.
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All was now bustle and hubbub in the late quiet schoolroom. The scholars were hurried through
their lessons without stopping at trifles; those who were nimble skipped over half with impunity,
and those who were tardy had a smart application now and then in the rear, to quicken their
speed or help them over a tall word. Books were flung aside without being put away on the
shelves, inkstands were overturned, benches thrown down, and the whole school was turned
loose an hour before the usual time, bursting forth like a legion of young imps, yelping and
racketing about the green in joy at their early emancipation.
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Print Form
STUDENT MANUAL
LANGUAGE ARTS — LESSON 61-1
Lesson 61
The Legend of Sleepy Hollow
by Washington Irving
Once again you will begin the Lesson by completing the Vocabulary work as you have done
in the previous The Legend of Sleepy Hollow Lessons.
The Vocabulary words for this Lesson are: Frigate; Parried; Acquaintance; Contagion;
and Sequestered.
Now that you have successfully completed the Vocabulary activity, you are ready to read.
SA
Lesson Wrap-up: The reading in Lesson 61 focuses on local legends and tall tales in the
Sleepy Hollow neighborhood. Think of some local legends in your town, family, or school.
Share them with your teacher or peers.
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STUDENT MANUAL
LANGUAGE ARTS — LESSON 61-2
The Legend of Sleepy Hollow
Section Five
There was the story of Doffue Martling, a large blue-bearded Dutchman, who had nearly taken
a British frigate with an old iron nine-pounder from a mud breastwork, only that his gun burst
at the sixth discharge. And there was an old gentleman who shall be nameless, being too rich a
miner to be lightly mentioned, who, in the battle of White Plains, being an excellent master of
defense, parried a musket-ball with a small-sword, insomuch that he absolutely felt it whiz round
the blade, and glance off at the hilt; in proof of which he was ready at any time to show the sword,
with the hilt a little bent. There were several more that had been equally great in the field, not
one of whom but was persuaded that he had a considerable hand in bringing the war to a happy
termination.
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But all these were nothing to the tales of ghosts and apparitions that succeeded. The neighborhood
is rich in legendary treasures of the kind. Local tales and superstitions thrive best in these
sheltered, long settled retreats; but are trampled underfoot by the shifting throng that forms the
population of most of our country places. Besides, there is no encouragement for ghosts in most
of our villages, for they have scarcely had time to finish their first nap and turn themselves in
their graves, before their surviving friends have traveled away from the neighborhood; so that
when they turn out at night to walk their rounds, they have no acquaintance left to call upon.
This is perhaps the reason why we so seldom hear of ghosts except in our long-established Dutch
communities.
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The immediate cause, however, of the prevalence of supernatural stories in these parts, was
doubtless owing to the vicinity of Sleepy Hollow. There was a contagion in the very air that blew
from that haunted region; it breathed forth an atmosphere of dreams and fancies infecting all
the land. Several of the Sleepy Hollow people were present at Van Tassel’s, and, as usual, were
doling out their wild and wonderful legends. Many dismal tales were told about funeral trains,
and mourning cries and wailings heard and seen about the great tree where the unfortunate
Major Andre was taken, and which stood in the neighborhood. Some mention was made also
of the woman in white, that haunted the dark glen at Raven Rock, and was often heard to shriek
on winter nights before a storm, having perished there in the snow. The chief part of the stories,
however, turned upon the favorite specter of Sleepy Hollow, the Headless Horseman, who had
been heard several times of late, patrolling the country; and, it was said, tethered his horse nightly
among the graves in the churchyard.
STUDENT MANUAL
LANGUAGE ARTS — LESSON 61-3
SA
The sequestered situation of this church seems always to have made it a favorite haunt of troubled
spirits. It stands on a knoll, surrounded by locust, trees and lofty elms, from among which its
decent, whitewashed walls shine modestly forth, like Christian purity beaming through the
shades of retirement. A gentle slope descends from it to a silver sheet of water, bordered by high
trees, between which, peeps may be caught at the blue hills of the Hudson. To look upon its grassgrown yard, where the sunbeams seem to sleep so quietly, one would think that there at least
the dead might rest in peace. On one side of the church extends a wide woody dell, along which
raves a large brook among broken rocks and trunks of fallen trees. Over a deep black part of the
stream, not far from the church, was formerly thrown a wooden bridge; the road that led to it,
and the bridge itself, were thickly shaded by overhanging trees, which cast a gloom about it, even
in the daytime; but occasioned a fearful darkness at night. Such was one of the favorite haunts of
the Headless Horseman, and the place where he was most frequently encountered. The tale was
told of old Brouwer, a most heretical disbeliever in ghosts, how he met the Horseman returning
from his foray into Sleepy Hollow, and was obliged to get up behind him; how they galloped over
bush and brake, over hill and swamp, until they reached the bridge; when the Horseman suddenly
turned into a skeleton, threw old Brouwer into the brook, and sprang away over the tree-tops with
a clap of thunder.
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This story was immediately matched by a thrice-marvelous adventure of Brom Bones, who made
light of the Galloping Hessian as an arrant jockey. He affirmed that on returning one night from
the neighboring village of Sing Sing, he had been overtaken by this midnight trooper; that he
had offered to race with him for a bowl of punch, and should have won it too, for Daredevil beat
the goblin horse all hollow, but just as they came to the church bridge, the Hessian bolted, and
vanished in a flash of fire.
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