English Language Arts B30
Module One
Assignment Two
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Assignment 2
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Assignment Two
Values
(24)
A.
Submit Activity A.
(13)
B.
Submit Activity B.
(20)
C.
Submit Activity C.
(20)
D.
Submit Activity D.
*****Complete either Option One or Option Two of Activity E. Option
One is based on the essay, “By Any Other Name,” found in Modern
World Literature. Option Two is based on “The Education of Women,”
printed within this assignment. *****
E.
“By Any Other Name”
(Option One)
An allusion is a passing reference to some person, place, or
event that has literary, historical, or geographical
significance. For example, if you wanted to compliment a
high school runner on his speed, you might say, “Michael
Johnson couldn’t run any faster.” You would be alluding to
the well-known Olympic runner, Michael Johnson. Many
people use allusions in their day-to-day lives.
1.
Consider the author’s background. Read the
information about Santha Rama Rau and the
“Reader’s Guide” in your text, Modern World
Literature.
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Assignment 2
(1)
2.
Consider the title of this essay, “By Any Other Name,” and the
Shakespearean quotation that follows it. In one complete
sentence, speculate whether or not someone's name can affect
how she perceives herself.
(1)
3.
Predict the subject of the essay in one complete sentence.
4.
Read the essay.
5.
Write your first reaction to “By Any Other Name.” Your response
will be graded the following way.
(4)
0
1-2
no comments
very short or
inadequate comments
3-4
a good effort, several
sentences long, to express
your first reaction to what
you have just read
You may use one of the following sentence starters if you wish.
•
•
•
•
When people call me a different name, I feel …
A name is an important part of a person’s identity because …
If I could, I would change my name to ___ because …
I, too, have faced prejudice in school when …
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Assignment 2
(3)
6.
Review the story. List three ways in which Premila and Santha
were discriminated against.
(3)
7.
Reread the third paragraph of “By Any Other Name.” In a
complete sentence, explain how the headmistress shows that
she does not value the Indian culture.
(2)
8.
Reread the last page of the essay. Names can be
powerful. In a complete sentence, explain how being
called Cynthia at school helps to insulate her from the sting
of prejudice.
(9)
9.
How have your values changed?
What do you value? Tradition? Progress? Religion? Language?
Freedom? Write a paragraph about how one of your values has
changed or grown. What experience caused this change? How
might your values change in the future? Why? Keep your
paragraph positive! You may use the following topic sentence.
Once I was ___; now I am ___.
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Assignment 2
E.
“The Education of Women”
1.
(Option Two)
Consider the author’s background.
Daniel Defoe (c. 1661-1731) was the
son of a London butcher. He was trained
as a Minister, but became a merchant.
Though he won the approval of King
William, he incurred the wrath of the
Tories, which made him a popular hero
for a time. For the next fourteen years
his career focused on political journalism.
In his later years Defoe spoke as a tool of
the government. In1719 he published
the first volume of Robinson Crusoe, which would become one of
the most well known examples of realistic fiction of Defoe’s time.
Defoe wrote “The Education of Women” in 1719. In it he
sincerely expresses his views about the value of women: they are
as worthy as men of education. This was not a common belief
during his time. In eighteenth century England women were not
recognized as citizens: they enjoyed very few personal, political,
educational, legal, or financial rights.
Just for Thought…
How should society decide who deserves an education? Does
Defoe really consider women to be men’s equals? Or, does he
merely envision the perfect companion in his support of
education for women?
(1)
2.
Predict the subject of the essay in one complete sentence.
3.
Read the essay.
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Assignment 2
The Education Of Women
I have often thought of it as one of the most
barbarous customs in the world, considering us
as a civilized and a Christian country, that we
deny the advantages of learning to women. We
reproach the sex every day with folly and
impertinence; while I am confident, had they
the advantages of education equal to us, they
would be guilty of less than ourselves.
One would wonder, indeed, how it should
happen that women are conversible at all;
since they are only beholden to natural parts,
for all their knowledge. Their youth is spent to
teach them to stitch and sew or make baubles.
They are taught to read, indeed, and perhaps
to write their names, or so; and that is the
height of a woman's education. And I would
but ask any who slight the sex for their
understanding, what is a man (a gentleman, I
mean) good for, that is taught no more? I
need not give instances, or examine the
character of a gentleman, with a good estate,
or a good family, and with tolerable parts; and
examine what figure he makes for want of
education.
The soul is placed in the body like a rough
diamond; and must be polished, or the lustre of
it will never appear. And 'tis manifest, that as
the rational soul distinguishes us from brutes;
so education carries on the distinction, and
makes some less brutish than others. This is
too evident to need any demonstration. But
why then should women be denied the benefit
of instruction? If knowledge and understanding
had been useless additions to the sex, God
Almighty would never have given them
capacities; for he made nothing needless.
Besides, I would ask such, What they can see
in ignorance, that they should think it a
necessary ornament to a woman? or how much
worse is a wise woman than a fool? or what
has the woman done to forfeit the privilege of
being taught? Does she plague us with her
pride and impertinence? Why did we not let her
learn, that she might have had more wit? Shall
we upbraid women with folly, when 'tis only the
error of this inhuman custom, that hindered
them from being made wiser?
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The capacities of women are supposed to be
greater, and their senses quicker than those
of the men; and what they might be capable
of being bred to, is plain from some
instances of female wit, which this age is not
without. Which upbraids us with Injustice,
and looks as if we denied women the
advantages of education, for fear they
should vie with the men in their
improvements. . . .
[They] should be taught all sorts of breeding
suitable both to their genius and quality.
And in particular, Music and Dancing; which
it would be cruelty to bar the sex of,
because they are their darlings. But besides
this, they should be taught languages, as
particularly French and Italian: and I would
venture the injury of giving a woman more
tongues than one. They should, as a
particular study, be taught all the graces of
speech, and all the necessary air of
conversation; which our common education
is so defective in, that I need not expose it.
They should be brought to read books, and
especially history; and so to read as to make
them understand the world, and be able to
know and judge of things when they hear of
them.
To such whose genius would lead them to it,
I would deny no sort of learning; but the
chief thing, in general, is to cultivate the
understandings of the sex, that they may be
capable of all sorts of conversation; that
their parts and judgements being improved,
they may be as profitable in their
conversation as they are pleasant.
Women, in my observation, have little or no
difference in them, but as they are or are
not distinguished by education. Tempers,
indeed, may in some degree influence them,
but the main distinguishing part is their
Breeding.
The whole sex are generally quick and
sharp. I believe, I may be allowed to say,
generally so: for you rarely see them
lumpish and heavy, when they are children;
as boys will often be. If a woman be well
bred, and taught the proper management of
her natural wit, she proves generally very
sensible and retentive.
Assignment 2
by comparing it with the difference between
one man or woman, and another.
And, without partiality, a woman of sense
and manners is the finest and most delicate
part of God's Creation, the glory of Her
Maker, and the great instance of His singular
regard to man, His darling creature: to whom
He gave the best gift either God could
bestow or man receive. And 'tis the sordidest
piece of folly and ingratitude in the world, to
withhold from the sex the due lustre which
the advantages of education gives to the
natural beauty of their minds.
And herein it is that I take upon me to
make such a bold assertion, That all the
world are mistaken in their practice about
women. For I cannot think that God Almighty
ever made them so delicate, so glorious
creatures; and furnished them with such
charms, so agreeable and so delightful to
mankind; with souls capable of the same
accomplishments with men: and all, to be
only Stewards of our Houses, Cooks, and
Slaves.
A woman well bred and well taught,
furnished with the additional
accomplishments of knowledge and
behaviour, is a creature without comparison.
Her society is the emblem of sublimer
enjoyments, her person is angelic, and her
conversation heavenly. She is all softness and
sweetness, peace, love, wit, and delight. She
is every way suitable to the sublimest wish,
and the man that has such a one to his
portion, has nothing to do but to rejoice in
her, and be thankful.
Not that I am for exalting the female
government in the least: but, in short, I
would have men take women for
companions, and educate them to be fit for
it. A woman of sense and breeding will scorn
as much to encroach upon the prerogative of
man, as a man of sense will scorn to oppress
the weakness of the woman. But if the
women's souls were refined and improved by
teaching, that word would be lost. To say,
the weakness of the sex, as to judgment,
would be nonsense; for ignorance and folly
would be no more to be found among women
than men.
On the other hand, Suppose her to be the
very same woman, and rob her of the benefit
of education, and it follows
If her temper be good, want of
education makes her soft and easy.
I remember a passage, which I heard from a
very fine woman. She had wit and capacity
enough, an extraordinary shape and face,
and a great fortune: but had been cloistered
up all her time; and for fear of being stolen,
had not had the liberty of being taught the
common necessary knowledge of women's
affairs. And when she came to converse in
the world, her natural wit made her so
sensible of the want of education, that she
gave this short reflection on herself: "I am
ashamed to talk with my very maids," says
she, "for I don't know when they do right or
wrong. I had more need go to school, than
be married."
I need not enlarge on the loss the
defect of education is to the sex; nor
argue the benefit of the contrary
practice. 'Tis a thing will be more
easily granted than remedied. This
chapter is but an Essay at the thing:
and I refer the Practice to those
Happy Days (if ever they shall be)
when men shall be wise enough to
mend it.
Her wit, for want of teaching, makes her
impertinent and talkative.
Her knowledge, for want of judgement
and experience, makes her fanciful and
whimsical.
If her temper be bad, want of breeding
makes her worse; and she grows
haughty, insolent, and loud.
If she be passionate, want of manners
makes her a termagant and a scold,
which is much at one with Lunatic.
If she be proud, want of discretion
(which still is breeding) makes her
conceited, fantastic, and ridiculous.
And from these she degenerates to be
turbulent, clamorous, noisy, nasty, the
devil! . . .
The great distinguishing difference, which is
seen in the world between men and women,
is in their education; and this is manifested
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Assignment 2
(3)
4.
Write your first reaction to “The Education of Women.” Your
response will be graded the following way.
0
no comments
1-2
very short or
inadequate comments
2-3
a good effort, several
sentences long, to express
your first reaction to what
you have just read
You may use one of the following sentence starters if you wish.
•
•
•
•
(2)
5.
When people discriminate against me because of my
gender I …
Education is an important part of growing up for both men
and women because …
If I could, I would abolish sexism …
My education has been affected by gender stereotypes
by…
Consider the title of this essay, “The Education of Women.” Is
education for women still a modern issue? How does the title of
the essay reflect the time period in which it was written?
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Assignment 2
An allusion is a passing reference to some person, place, or
event that has literary, historical, or geographical significance.
For example, if you wanted to compliment a high school
runner on his speed, you might say, “Michael Johnson
couldn’t run any faster.” You would be alluding to the wellknown Olympic runner, Michael Johnson. Many people use
allusions in their day-to-day speech. In “The Education of
Women,” Defoe uses an allusion when he refers to the
Christian God with the term, “Her Maker.”
(2)
6.
Review the first paragraph of the essay. State for what two
qualities women of Defoe’s time are criticized. What does Defoe
propose as a solution? Answer in complete sentences.
(2)
7.
Reread the seven observations that Defoe makes about women
who do not get an education. These have been highlighted in the
text of the essay. Substitute his, him and he for her and she. In a
complete sentence, explain whether or not these observations
could also apply to men.
(2)
8.
Reread the last third of the essay beginning at “And herein it is
that I …”. In complete sentences and in your own words, state
the assertion that Defoe makes about his world’s treatment of
women. Identify one reason that Defoe uses to support his view.
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Assignment 2
(2)
9.
Reread the following statement from the essay.
“Not that I am for exalting the female government in the least:
but, in short, I would have men take women for companions, and
educate them to be fit for it.”
In light of this statement, would Defoe be considered a supporter
of women’s rights in the twentieth century?
(9)
10.
How have your values changed?
Defoe values women more than other men of his time. What do
you value? Tradition? Progress? Religion? Language?
Freedom? Write a paragraph about how one of your values has
changed or grown. What experience caused this change? How
might your values change in the future? Why? Keep your
paragraph positive! You may use the following topic sentence.
Once I was ___; now I am ___. Add a strong conclusion.
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Assignment 2
Nobody can make you feel inferior without your permission.
-Eleanor Roosevelt
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Assignment 2
English Language Arts B30
Module One:
The Human Condition:
In Search of Self
Lesson Three: Human Relationships
“But you must believe me when I tell you that I have found it impossible to carry the
heavy burden of responsibility and to discharge my duties as King as I would wish to
do, without the help and support of the woman I love.”
-
As King of England, Edward VIII could not marry Wallace
Simpson, a divorcée. He chose to step down from his
public role as king in order to live a private life as her
husband. Edward VIII made his famous abdication
speech on Dec.11, 1936.
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Lesson 3
Objectives
In Lesson Three you will have the opportunity to:
•
read to experience other times and places.
•
use connotative and denotative words appropriately.
•
recognize lyric, narrative, and dramatic poetry.
•
recognize sound patterns in literature such as rhyme, rhythm,
meter, alliteration, consonance, assonance, sibilance, and
repetition.
•
recognize, evaluate, and use the elements of the short story.
•
paraphrase prose and poetry passages.
•
compare, contrast, and evaluate texts.
•
write to narrate, to entertain, and to express yourself for various
audiences.
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Lesson 3
Holidays Around the World
Oktoberfest is an outdoor folk festival that originated in 1810 when the
king of Bavaria gave his people a special holiday to celebrate his son’s
marriage. Since then Oktoberfest has spread throughout Germany and
other parts of the world where German immigrants live. It begins in
September and ends on the first Sunday in October. Many people wear
traditional costumes, lederhosen (short leather breeches) for men, and
dirndle skirts for women. Food favorites include barbecued beef,
caraway buns, pastries and sweets. Celebrations often combine
traditional parades, folk dances, costumes, food, and drink with modern
amusements.
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Lesson 3
Introduction
In Lesson Three you will have the chance to think about issues arising from human
relationships. Your many relationships with others affect you and your sense of self.
What kinds of relationships do you have with others? You are either a daughter or a
son, but you may also be a sister or a brother. You may already be a mother,
father, aunt, or uncle. You may be a wife or a husband. You are a student of
English Language Arts B30, but you may also be a teacher in another capacity. You
might also be someone’s friend or enemy.
What would you be willing to do to help the people you care
about or to protect your relationship with someone?
The literature in Lesson Three highlights human relationships.
You will have the opportunity to read about relationships in times
and places different from your own. You will also learn about
connotative words, paraphrasing, and summarizing. You will use
your skills to examine and compare elements of literature. Finally, you will have the
chance to write creatively.
“Lot’s Wife”
Read the biographical notes on Anna Akhmatova, the Reader’s Guide, and
the poem, “Lot’s Wife” in Modern World Literature.
Just for Thought…
How does the painting reproduced in your text at the beginning of
the poem reflect the poem’s subject? What incident does the
painting depict? Is the style of the painting traditional, like the
incident upon which the poem is based?
The poem, “Lot’s Wife,” describes the flight of Lot and his family
from the doomed city of Sodom. Lot obeys the angel’s warning
and does not look back at the city, but his regretful wife feels
that she must. Lot’s wife knows that she will miss her home,
and when she looks back at Sodom, she is instantly transformed
into a transparent pillar of salt. The speaker adds that, though
others may not grieve for Lot’s wife, she will never forget the
woman who died for one last look at her home.
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Lesson 3
In “Lot’s Wife,” Akhmatova skillfully creates images without the help of figurative
language. Rather, she uses specific, vivid description and connotative words to
recreate the departure of Lot and his family from Sodom. Akhmatova also writes in
alternately rhyming quatrains (abab). Each quatrain separates one idea from the
next.
The experience of Lot’s wife parallels that of Akhmatova herself. After the Russian
Revolution of 1917, she remained in Russia even though many of her friends chose
to leave. Anna Akhmatova was aware that her love for Russia would cause her pain
and hardship. She was persecuted, partly because she would not write on political
themes. Authorities shot her ex-husband and imprisoned her son. Akhmatova
published a collection of poetry in 1922, but was blacklisted: she was not allowed to
publish her poems in Russia again until 1956. In spite of her suffering, Akhmatova
was aware that, like Lot’s wife, she would regret leaving her home.
Imagery
When you write, do you want to present ideas in an interesting way? Imagery is
one method writers use to help catch the attention of the audience. Images, or
word pictures, help the writer represent or compare ideas. Imagery might appeal to
the senses of sight, hearing, taste, or touch.
Imagery is the use of picture-making words or phrases to create vivid
mental images.
Sunlight glittered on the rolling waters of Lake Winnipeg as
Jason guided his wind surfer into the fresh spring wind.
The writer has created imagery that appeals to the sense of
sight with sunlight glittered and to the sense of touch with fresh
spring wind.
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Lesson 3
Many writers safely assume that their audiences have the same general
understanding of basic ideas and words. Everyone, for example, understands what
a cat is. However, the particular words and comparisons that a writer uses can
create an entirely different picture of the same concept. A reader perceives the
basic idea of “cat” very differently if it is described as “purring” and “friendly” rather
than “temperamental” and “vicious.” Examine the following two cats.
Which cat would you prefer to meet unleashed in the park?
Connotative words, which suggest particular feelings, are also often used to create
imagery. Read the following examples and what the connotative words in each
suggest.
The zephyr tickled Grace’s luxuriant locks.
A zephyr is a light tropical breeze that suggests something exotic. Tickled suggests
a gentle, familiar touch. The name Grace suggests a pretty, glamorous girl.
Luxuriant locks suggests long beautiful hair. Compare this example with the
following.
Hellish winds tore at Olive Oil’s tangled mass of hair.
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Lesson 3
Hellish winds suggest violent gale-force winds with an evil intent. Tore shows the
rough, abrasive nature of the movement of the wind. Olive Oil is not a name that
suggests perfection of physical form. Tangled mass of hair suggests long, ratty,
unattractive hair.
It is easy to see that the connotations of the words that you choose as a writer can
change the images you create. You will read more about connotation later in this
lesson.
Imagery can also be created through the use of figurative language such as symbol,
simile, metaphor, and personification. See the section, “They Tell Me I Am Lost” in
Lesson One for a definition of symbol.
A simile is a direct comparison which uses “like” or “as.”
A metaphor is an indirect comparison which does not use “like” or “as.”
Personification is the comparison of an inanimate object to a living
thing. The inanimate object is “personified” by giving it human
attributes.
The tree stood at the crest They danced on clouds of
of the hill like a lonely
happiness.
guard on a castle wall.
The book opened its
pages to me beckoningly.
Each of the preceding examples used figurative language to create images that
made the sentences interesting. Can you tell which example is simile, metaphor,
and personification?
Complete the activity based on “Lot’s Wife” in the assignment section of this lesson.
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Lesson 3
Connotation and Denotation
The content of any message depends on the particular words chosen. Speakers and
writers use words for their literal definitions as well as for the emotional associations
the words can provoke in their audience. Read the following three examples for the
same general idea. Which way would you prefer to be described?
Literal/Denotative:
e.g. You are a hard-working student.
Emotional/Connotative:
e.g. You are a diligent scholar.
(positive connotations)
e.g.
You are an obsessive pedant.
(negative connotations)
In the three examples above, the phrase hard-working student sounds the most
factual, while diligent scholar sounds the most complimentary, and obsessive pedant
sounds the most insulting. As you can see, some words have two kinds of
meanings, their literal or denotative meaning, and their emotional or connotative
meaning.
Denotation refers to the exact meaning of a word, or its dictionary
definition. The denotation of the words protection and imprisonment
is custody. However, the connotation of protection is nurturing while
the connotation of imprisonment is punitive.
Connotation refers to the implied suggestion, feeling, and
atmosphere attached to a word apart from its basic meaning. For
example, perilous, and ticklish refer to uncertain situations. Perilous
carries a dangerous connotation, and ticklish carries fun, pleasant
connotations.
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Lesson 3
Connotations can be general or personal. Generally, most speakers of English would
accept that hack and ink slinger are unpleasant ways to describe a writer. On the
other hand, describing a writer as a commentator, a novelist, or a dramatist carries a
generally accepted positive connotation.
Some connotations can be personal. For example, the word
python might have connotations of fear and danger for most
people. However, if you were an animal activist working to
preserve the Green African Python, you might feel protective
when you hear or see the word python.
When you speak and write, it is important to be aware that the connotations of the
words you choose can either reinforce or confuse your purpose. For example, if
your purpose is to convince your audience to buy a particular car, you will probably
want to choose words with positive connotations to describe it. If your purpose is to
encourage people to act against a local company that is polluting the environment,
you would choose both words with negative connotations to emphasize the danger
of the pollution, and words with positive connotations to emphasize the desired
healthy environment.
If your purpose is to give factual information, you should choose neutral words
(ones without strong positive or negative connotations) as often as possible. This
will help you to avoid writing a slanted or biased report.
Furthermore, if you use connotative words to create an overall impression of
something, the words should all have the same kind of connotation. The following
sentence contains words with mixed connotations. Notice how confusing it seems.
Cooing, spitting, hissing, and clawing, the parrot was
imprisoned in its travel cage.
In the preceding example, cooing sounds incongruous because it has a positive,
friendly connotation. The other words in the sentence, spitting, hissing, clawing,
and imprisoned, have negative connotations. Read the following two more
congruous sentences.
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Lesson 3
Spitting, hissing, clawing, and squawking, the parrot was
imprisoned in its travel cage.
Singing, calling, cooing, and chirping, the parrot was
protected within its travel carrier.
While the first sentence uses words with negative connotations, the second
sentence uses words with positive connotations. In each sentence, the writer has
created a unified impression of the parrot.
Connotative language can be an important tool for others as well
as for you. It is important for you to be aware that the writers of
the material which you listen to, read, or view have chosen
particular words to suit their own purposes. How do others want
the language they use to affect you? How might the language
used in newspapers, advertisements, and radio or television
programs influence your reaction to the ideas being communicated?
Lyric, Narrative, and Dramatic Poetry
One way of classifying poetry is as lyric, narrative, or dramatic.
Lyric poetry expresses thoughts or emotions rather than actions. It
is emotional, thoughtful, and subjective. “I’m Nobody!,” “We Wear
the Mask,” and “They Tell Me I Am Lost,” which you read in Lesson
One are all lyric poems.
Narrative poetry tells a story. You may have read popular poems
that tell stories such as “Casey at the Bat,” or “The Ballad of the Iceworm Cocktail.”
Dramatic poetry uses monologue (one speaker) or dialogue (two or
more speakers) to reveal the personality of the speaker(s). “My Last
Duchess,” which you will read later in Lesson Three, is an example of
a dramatic monologue.
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Lesson 3
Asking yourself whether a poem focuses on emotion, on a story,
or on dramatic characters is a useful hint in determining the main
themes in a poem. A writer may also use sound patterns to help
create a particular effect. In the next section you will read and
listen to information about sound patterns in poetry.
“My Last Duchess”
Robert Browning (1812 – 1889) naturally became a writer as he
grew up in a family that loved literature and music. Educated at
home, Browning became one of the most learned men of
Europe in his time. Browning’s early poetry and plays met with
failure. However, he became quite well-known for his
development of the dramatic monologue, in which characters
spoke in their own voices without comments from a narrator or
a speaker. The characters in these dramatic monologues used
realistic speech and revealed their state of mind. Many of Browning’s
contemporaries considered his writing “unpoetic” because of its realism. Browning’s
great admiration of Italy and the Italian Renaissance is often revealed in his writing.
Robert Browning fell in love with Elizabeth Barrett, a celebrated poet in ill-health
who was not expected to live very long. They married in 1846 and moved to Italy,
both to improve Elizabeth’s poor health and to escape her domineering father. They
had an idyllic marriage for the next thirteen years until Elizabeth’s death. Robert
and Elizabeth’s life together is one of the best-known true love stories of all time.
Just for Thought…
What would you do if someone you were visiting inadvertently
revealed he had committed a terrible crime? The speaker in “My
Last Duchess,” a widowed Renaissance-era Italian Duke, does just
this.
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Lesson 3
"My Last Duchess" 1
ROBERT BROWNING
5
10
15
20
25
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's2 hands
Worked busily a day, and there she stands.
Will 't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart–how shall I say?–too soon made glad,
Too easily impressed, she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
1. My Last Duchess. The speaker is Alfonso II, duke of
Ferrara, Italy. His wife Lucrezia has died. In the poem he is
addressing an agent who is negotiating his next marriage.
2. Frà Pandolf. An imaginary painter. Frà is short for Fratello,
Italian for "brother." The painter was a monk.
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Lesson 3
30
35
40
45
50
55
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace–all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men–good! but thanked
Somehow–I know not how–as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech–(which I have not)–to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"–and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse
–E'en then would be some stooping, and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The count your master's known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea horse, though a rarity,
Which Claus of Innsbruck3 cast in bronze for me!
3. Claus of Innsbruck. An imaginary sculptor
The setting of “My Last Duchess” is a magnificent palace at Ferrara, a city in
northern Italy, not far from Florence. The time is that of the Renaissance in Italy,
when Italian noblemen were especially noted for their interest in art, their
magnificence, and their haughty pride.
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Lesson 3
During the Renaissance, marriage was a business arrangement. It
was common practice for wealthy families to pay a dowry to the
husband of their daughter upon her marriage to him. In effect,
they paid a man to marry their daughter.
There are two people in “My Last Duchess,” a listener and a
speaker. The listener is a count’s envoy. He has come to negotiate the marriage of
the count’s daughter to the speaker of the poem, a proud, cruel Italian Duke.
In private, the Duke shows the envoy a portrait of a joyful young beauty, the Duke’s
former Duchess. The Duke thought the expression the artist had captured on the
face of the young Duchess was due to her enjoyment of the artist’s flattery.
His former wife’s conduct displeased the Duke. He found her to be too
kind-hearted and responsive to those around her. She cared about other
people and things besides her husband and his wishes. Unhappy that
she had not submitted her whole being to his will, the Duke “gave
commands, then all smiles stopped.” The Duke implies that the penalty
for a wife who fails to meet his expectations is death.
The Duke goes on to tell the envoy that he hopes that his requests for a dowry and
for the Duke’s daughter will be granted. He casually goes on to show the envoy the
rest of his art collection.
Browning skillfully reveals the Duke’s character as the Duke speaks
about the Duchess. The Duke is cold and greedy. He treasures the
work of art representing his wife more than his wife. He requests a
large dowry to accompany his next marriage to the daughter of the
count. The Duke’s jealousy is evident when he speaks of his former
Duchess’ friendliness and smiles for everyone. The fact the Duke feels
that the Duchess should have held herself aloft from the common things
around her and that he would not “stoop” to explain his wishes to his
wife illustrate his arrogance and haughtiness.
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Lesson 3
Sound Patterns in Poetry
Just as human relationships bind people together, rhyme and rhythm can help unify
the sound of a poem or a song. You surely have suffered through having a “catchy”
little rhyme or tune “stick” and repeat in your memory. Often, it is the rhyme or the
rhythm of the piece that makes it enjoyable and memorable. Do you remember the
following nursery rhymes from your childhood? Do you still remember rhymes or
songs that were special to you?
Hickory, dickory, dock.
The mouse ran up the clock.
The clock struck one.
The mouse ran down.
Hickory, dickory, dock.
Rain, rain go away!
Come again another day.
Rhyme and rhythm help make poems appealing to their readers. The sound of the
language used adds another dimension to literature much in the same way that a
three dimensional drawing appears to be more interesting than a one-dimensional
drawing. Examine the following two drawings of houses.
Which of the preceding houses appears more realistic? Rhyme and rhythm can add
“depth” to a poem much the same way that perspective adds depth to a drawing.
Read the information about rhyme, types of rhyme, rhyme schemes,
and poetry without rhyme schemes in the “Poetry” section of your
English Language Arts Ready Reference. Then, complete the
“Remember What You Read” activity that follows.
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Lesson 3
Circle the word or phrase that best completes each statement.
1. (End / Internal) rhyme occurs at the ends of lines of poetry.
2. (Feminine / Masculine) rhyme occurs when single final syllables of the
lines of a poem are stressed and rhyming.
3. (Alternate rhyme / Rhyming couplets) occur when two consecutive
lines of poetry rhyme.
4. The (Shakespearean / Petrarchan) sonnet has a rhyme scheme of
abbaabbacdcdcd.
5. Poetry with no regular rhyme or rhythm is called (free / blank) verse.
6. Poetic (license / metre) is the rhythmical pattern resulting from the
arrangement of stressed and unstressed syllables in lines of poetry.
7. (Scanner / Scansion) is the process of analyzing the rhythm in a poem.
8. The iamb, trochee, anapest, dactyl, amphibrach, and spondee are
types of poetic (hands / feet).
9. The (iambic / spondaic) foot has a pattern of one unstressed syllable
followed by one stressed syllable.
10. The (anapestic / trochaic) foot has a pattern of one stressed syllable
followed by one unstressed syllable.
11. The term “tetrameter” indicates that there are (three / four) metrical
feet in a line of poetry.
12. The term “pentameter” indicates that there are (five / six) metrical feet
in a line of poetry.
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Lesson 3
A skillful writer will choose rhyme and rhythm that suit the subject of the poem. A
poet writing about idealized love might use the rhyme and rhythm typical for a
Shakespearean or a Petrarchan sonnet. On the other hand, a poet writing a
children’s poem might use regular rhythm and rhyming couplets to make the piece
easy to remember.
In much the same way that songwriters use a steady back
beat behind the melody in a song, a writer may use rhythm
to add to the overall effect of a piece of writing.
Songwriters also use rhythm and rhyme to make the lyrics
of their songs appealing.
The use of (or lack of) rhyme and rhythm is part of the style of a piece of literature.
Poets also use other sound devices such as alliteration, onomatopoeia, consonance,
assonance, sibilance, and repetition to add to the overall sound of a poem.
Listen to the virtual students work cooperatively to
create a literary analysis in “Cooperation and Analysis.”
Refer to “My Last Duchess” again to determine what
you would add to this discussion.
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Lesson 3
Were any of the terms mentioned on your audiotape unfamiliar? Check their
meaning below.
Alliteration is the repetition of the first sound of two or more words.
e.g., Only righteous rain fell upon the Holy Land.
Consonance is the repetition of a consonant sound. e.g., Criminal and
unkind, Machek stared unblinkingly at the crate.
Assonance is the repetition of a vowel sound. e.g., Erin felt melancholy.
Sibilance is the repetition of an s, sh, z, or sh sound. e.g., His face remained
impassive, a mask of icy silence.
Onomatopoeia is the use of a word that imitates what the word means. e.g.,
splat, sizzle, whoosh, tinkle, bong
Metonymy is a figure of speech in which a thing is referred to by something closely
associated with it. e.g., The kettle is boiling. (It is actually the water that is
boiling.) We heard the speech from the throne. (The speech is actually delivered
by the person who occupies the throne.) The pen is mightier than the sword.
(Writers are more powerful than soldiers.)
Synecdoche is a figure of speech in which a thing is referred to by one of its parts.
e.g., There are ten hands on deck. (There are ten hired helpers on deck.)
Who is the media mouthpiece? (Who is the media spokesperson?) The eye of the
law is watching you. (The police are watching you.)
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Lesson 3
You will have the opportunity to contribute to an analysis of “How Do I Love Thee?”
in the next portion of this lesson. You will notice immediately that the
duke’s coldness toward his wife in “My Last Duchess” is a strong contrast to the
attitude of the speaker toward her love in “How Do I Love Thee?”
“How Do I Love Thee”
Read the following information about Elizabeth Barrett Browning, “How Do I Love
Thee” and the comments about the poem submitted by the virtual students.
Elizabeth Barrett Browning (1806 – 1861) was thoroughly
educated at home and she began writing poetry at a young age.
Though he supported her work, Elizabeth’s father was
overprotective, especially when ill-health made Elizabeth an
invalid at home. Her literary career thrived and she became one
of England’s most well-known female poets. Elizabeth was
thirty-nine when she first received a letter from Robert
Browning, an admirer of her poetry. In 1846, the couple eloped
and moved to Italy, a climate that improved Elizabeth’s health.
Elizabeth and Robert were deliriously happy until her death in
1861.
Elizabeth Barrett Browning was respected as a serious scholarly poet who wrote
about serious moral and political themes such as slavery. However, her most
popular work is Sonnets from the Portuguese, a collection of love sonnets written for
her husband. The Portuguese was a nickname that Robert called Elizabeth.
Elizabeth originally did not want to print these personal love poems. When she did
publish them, Elizabeth tried to protect her privacy by allowing the public to believe
that the poems were translations of someone else’s work.
Just for Thought…
Are there different kinds of love? What kind of love is most
important to you? What is the meaning of love? What type of love
is the speaker in this poem professing? Is this kind of love realistic?
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Lesson 3
HOW DO I LOVE THEE
Sonnets from the Portuguese
ELIZABETH BARRETT BROWNING
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise;
I love thee with the passion put to use
In my old griefs, and with my childhood's faith;
I love thee with a love I seemed to lose
With my lost saints,–I love thee with the breath,
Smiles, tears, of all my life!–and, if God choose,
I shall but love thee better after death.
Read what Mr. Culture has to tell his class about
sonnets; then, go on to evaluate what the virtual
students have to say about “How Do I Love
Thee.”
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Lesson 3
Mr.Culture walks to the front of the virtual classroom and turns
to face the class. He begins to speak.
MR. CULTURE: Before we analyze “How Do I Love Thee” in
class, you need to know a little bit about sonnets. A sonnet is
a fourteen-line poem that deals with a single emotion or idea.
Many poets wrote groups of sonnets that explored different
parts of a main idea (like E. B. Browning’s Sonnets from the Portuguese). A sonnet
is usually written in iambic pentameter rhythm. There are two main types of
sonnets, the Shakespearean and the Petrarchan. Their stanza structures and rhyme
schemes are slightly different. Look at the following chart.
Shakespearean
Petrarchan
stanza structure
three quatrains (three
groups of four lines) and
one couplet (one group
of two lines)
one octave (one group of
eight lines) and one
sestet (one group of six
lines)
rhyme scheme
end rhyme scheme of
ababcdcdefefgg
end rhyme scheme of
abbaabbacdcdcd
*See ‘Rhyme Schemes of Sonnets’ in the “Poetry” section of your English Language Arts Ready
Reference for more information.
Now, class, I want you to each create a list of true and false questions that test your
classmates’ comprehension of one or two aspects of “How Do I Love Thee.” Use the
Poetry Analysis checklist that follows as a guide to analyze the poem. Then create
True/False questions.
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Lesson 3
Poetry Analysis Checklist
1. The author
!
!
!
!
Introduction to the author of the poem
Very brief background of the author
General comment about the author’s style
Background of the author relevant to the poem
2. The poem’s ideas
!
!
!
!
!
Type of poem:
❏ lyric (sonnet / ode / elegy)
❏ narrative (ballad / epic / romance)
❏ dramatic (monologue)
❏ other
Theme
Tone
Content
Striking ideas
3. Rhyme and rhythm
a.
Does the poem have rhyme? Rhythm?
! rhymed verse
! free verse
! blank verse
b. What kind of rhyme?
! end rhyme
! internal rhyme
c. What kind of end rhyme?
! masculine
! feminine
! slant rhyme
d. What kind of rhyme scheme?
! alternate rhyme
! rhyming couplet
! heroic couplet
! sonnet
! abba
! abcb
! other
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Lesson 3
e.
What kind of rhythm (metre)?
Foot:
! iambic
! trochaic
! anapestic
! dactylic
! amphibrach
metrical line:
! momometer
! dimeter
! trimeter
! tetrameter
! pentameter
! hexameter
! septameter
! octameter
4. Literary devices affecting rhythm
!
!
!
!
!
!
caesura
repetition
punctuation
line and stanza breaks
emphasis
other
5. Use of language
a.
b.
Word choice
! level of language
! consonance (repetition of a consonant sound)
! assonance (repetition of a vowel sound)
! sibilance (repetition of an s, sh, z, or zh sound)
! onomatopoeia (words that imitate sounds)
! alliteration (repetition of a sound at the beginning of a word)
! connotations
! other
Figurative language and literary devices
! personification
! simile
! metaphor
! metonymy/synecdoche
! allusion/apostrophe
! symbol
! other
6. Personal Reaction
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Lesson 3
Activity A
Virtual Students Analyze “How Do I Love Thee?”
Complete the following activity, which is a list of the virtual students’ True / False
questions about “How Do I Love Thee.”
(14)
Print T (True) or F (False) in the space provided to the left of each of
the virtual students’ statements about Elizabeth Barrett Browning
and “How Do I Love Thee.”
ADRIAN: Hey, guys. Is it O.K. if I make up the questions about the author? She is
fascinating. What a romance!
____ 1.
Elizabeth was born in 1806 and she died 1946.
____ 2.
She suffered from poor health.
____ 3.
She was a well-known female poet.
____ 4.
Elizabeth was twenty years old when she eloped with
Robert.
____ 5.
She did not originally intend to publish “How Do I Love Thee” because
she felt it was too private.
MEL: Well, let me write about the poem’s ideas. Lots of people are sure interested in
romance. Yuck! As far as I’m concerned, I see too much of it around me everyday.
____ 1.
“How Do I Love Thee” is a narrative poem.
____ 2.
It is a Petrarchan sonnet.
____ 3.
The main theme is how the speaker explores Portugal.
____ 4.
The speaker relates these ideas in a reverent tone.
____ 5.
She organizes the sonnet by asking a question that she answers in the
rest of the sonnet.
____ 6.
The speaker of the poem says she loves the man in fourteen different
ways.
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Lesson 3
____ 7.
The speaker has replaced her old feelings of sadness with ones of love
for him.
____ 8.
If God allows it, she will love the man even more purely after she dies.
____ 9.
The speaker illustrates her criminal nature with many references to
religion (Grace, saints, God).
____ 10. The idea that she loves him is de-emphasized by repeating “I love thee.”
MARIA: Stop, Mel, stop! Your little brain must be overheating. You have composed
very many questions. Do you know all the answers, as I do, for my questions about
rhyme and rhythm?
____ 1.
“How Do I Love Thee” is written in iambic pentameter.
____ 2.
The poem has an end rhyme pattern of ababsdsdefefgg.
____ 3.
The rhyme is masculine.
____ 4.
Browning uses caesura to create a pause in the middle
of several lines of poetry.
____ 5.
“I love thee” is not repeated for emphasis.
JENNY: Quite concise, Maria. Did your little brain lack the creativity to write more
questions? I certainly can write about Browning’s use of language.
____ 1.
The language used includes many words that describe
abstract ideas or lofty goals such as Being, Grace, Right,
Praise, and God.
____ 2.
Alliteration is used in “I love thee freely, as men strive for
Right.”
____ 3.
Consonance is used in “I love thee purely, as they turn from
Praise.”
____ 4.
Browning tries to emphasize how great her love is by comparing it to
lofty ideas.
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Lesson 3
____ 5.
In “With my lost saints,” Browning alludes to the saints she believed in
as a child.
____ 6.
Browning uses informal language with few examples of figurative
language.
FRANK: My personal reaction to the poem is much more positive than it is toward you
guys. You are all goofy! When are you going to quit sniping at each other? If you
hadn’t asked such good questions, I would think that your brains had turned to mush.
(3)
____ 1.
This poem seems to describe Elizabeth’s love for
Robert.
____ 2.
The speaker loves the man with her whole being.
Add your own personal reaction to “How Do I Love Thee” to
the information collected by the virtual students. Your
response will be graded in the following way.
0
no entry
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1
a very short or inadequate
entry
139
2-3
a good effort, several lines
long, to express your first
reaction to what you have
just read
Lesson 3
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Lesson 3
The Paraphrase
You have probably already noticed that putting unfamiliar material “into your own
words,” or paraphrasing it, can help you to understand it.
A paraphrase re-words a passage to express all of its ideas in a
straightforward way. A paraphrase uses simple language to make the
meaning of the original passage clear.
Read ‘The Paraphrase’ in the “Special Forms of Writing” section of your
English Language Arts Ready Reference.
Circle the word/phrase which most accurately completes each
statement.
1. The (paraphrase / essay) is used to clarify the meaning of difficult
passages of prose and poetry.
2. A good paraphrase uses (complex / clear) language.
3. A good paraphrase contains (all / some) of the thoughts expressed in
the original.
4. A good paraphrase (does / does not) contain ideas that
are not in the original.
5. In a paraphrase, direct quotations (should / should not) be changed
into indirect quotations.
6. A paraphrase should be (about the same length as / one third the
length of) the original.
7. A good paraphrase (maintains/changes) the same point of view as the
original.
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Lesson 3
Did You Say ‘Compare’ or ‘Contrast’?
Comparison and contrast is a type of expository writing that helps the reader to
understand the similarities and differences between two or more persons, places, or
things. For example, you may wish to compare and contrast two discmans before
choosing to buy one of them. Your teacher may want you to compare and contrast
two pieces of literature. An employer may wish to compare and contrast possible
employees before hiring one of them. In any case, you have to gather all the
relevant information about both persons, places, or things in order to compare and
contrast them effectively.
When you compare two persons, places, or things you examine ways that they are
the same. To contrast them is to examine ways that they are different.
COMPARE: similarities
CONTRAST: differences
Examine how the following two photos have been compared and contrasted.
Firefighting
“Firefighting”
Subject
Time
Place
Lighting
Mood
Campfire
“Campfire”
Comparison
Contrast
adult firemen
fighting fire
daytime
child campers
watching fire
evening
✔
✔
barren rocky
area
daylight
darkened due
to smoke
dangerous /
urgent
pleasant
lakeside
darkened due
to natural
twilight
peaceful /
relaxed
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✔
✔
✔
✔
✔
Lesson 3
Although both of the preceding pictures are near fire, the mood each photo conveys
is entirely different from the other. Practise your skills at comparison and contrast
by completing the following chart.
Field Soccer
“Field Soccer”
Street Games
“Street Games”
Subject
Time
Comparison
Contrast
✔
✔
✔
Place
✔
Lighting
✔
Mood
✔
Although both of the preceding pictures are people playing, the mood each photo
conveys is entirely different from the other. In which place would you prefer to
play?
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Lesson 3
Writing paragraphs that compare and/or contrast is a natural outgrowth of effective
evaluation of persons, places, or things. The most effective way to prepare to write
comparison or contrast paragraphs is:
•
First, to establish several important points on which two people, places, or
things might be compared.
•
Second, create a topic sentence that clearly indicates the purpose of your
paragraph – comparison, contrast, or comparison and contrast.
•
The body of your paragraph will discuss the similarities and/or differences.
•
Finally, the conclusion will provide an overall impression or evaluation of the
two things being compared.
The clearest method of comparison and contrast is to present parallel
details about both things, one at a time.
If you were to write a paragraph of comparison about the “Field Soccer” and “Street
Games” photos, you might choose the following topic sentence and details to include
in your paragraph. Notice that this paragraph presents parallel points about both
things, one at a time.
The two photos, one of field soccer and one of street games, are
surprisingly similar. Both photos were taken on a warm, sunny day.
In addition, the lighting in both photos is clear daylight. Finally,
both groups of boys seem to be concentrating on the game at hand.
The transitional words used to indicate comparison have been highlighted in the
preceding paragraph. Some other transitional words that you may find useful when
comparing two people, places, or things are: the same, too, like, similarly, just
as…so, in the same way, also, in addition, as well as, neither, and, each of.
If you were to write a paragraph of contrast about the “Field Soccer” and “Street
Games” photos, you might choose the following topic sentence and details to include
in your paragraph. You will notice that this paragraph presents all the information
about the first photo followed by all the information about the second photo.
The two photos are strikingly different in several ways. “Field
Soccer” is focused on a high-action, fun game. Healthy, welldressed and skillful players run toward their goal. The mood of
“Field Soccer” is pleasurable competition. In contrast, “Street
Games” presents a lackadaisical, uninteresting game. Poor, underdressed boys move desultorily, with no clear goal. The mood of
“Street Games” is much more sad and despondent than that of
“Field Soccer.”
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Lesson 3
The transitional words used to indicate contrast have been highlighted in the
preceding paragraph. Some other transitional words that you may find useful when
contrasting two people, places, or things are: on the other hand, while, yet, unlike,
although, whereas, but, however, conversely, less/more, however.
If you were to write a paragraph that both compared and contrasted “Field Soccer”
and “Street Games,” you might choose the following topic sentence and details to
include in your paragraph. This paragraph presents parallel points about both
photos one at a time.
Although “Field Soccer” and “Street Games” portray groups of boys
in entirely different circumstances, they are similar in many ways.
Naturally, each activity takes place in an entirely different location.
“Field Soccer” takes place in a well-funded stadium whereas “Street
Games” takes place on a poor village street. However, both photos
were taken on a warm, sunny summer day. The lighting in both
photos is clear daylight. The mood portrayed in “Field Soccer” is one
of pleasurable competition while “Street Games” portrays a
despondent, directionless activity. Both groups of boys are at play,
but in what different ways!
The transitional words used for the preceding comparison and contrast paragraph
have been highlighted.
Remember that comparison discusses similarities, while contrast discusses
differences.
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Lesson 3
Context Clues
As a proficient reader, you use three main ways to determine the meaning of an
unfamiliar word in any piece of writing.
1. Determine the context of the word.
• within the sentence (word function)
• within the paragraph
• within the entire selection
2. Examine the word’s structure (Lesson Two, ELA B30).
• prefix
• suffix
• root
3. Look it up in the dictionary.
All three methods are useful. However, using context clues can often be the
quickest method of determining the meaning of an unfamiliar word.
Context clues are the hints and related information regarding the
meaning of a particular word. Context clues can be found in words,
sentences, paragraphs, and illustrations that refer to the word in
question.
How is the unfamiliar word used within the sentence? What a word does in a
sentence is called the function of a word and it can be an important context clue.
The function of a particular word illustrates the kind of relationship it has with the
rest of the sentence. Sentence structure shows how thoughts are related in a
sentence. In a sentence, the subject does the action, the verb is the action, and
the object (if there is one) receives the action. (See “Is That a Bird, a Plane, or a
Noun?” Lesson Two, ELA B30 for a review of the parts of speech.)
In the following sentence, you can tell that Adrian does the action and that Maria is
the object of the action.
Adrian *** Maria.
Consequently, the missing word must be a verb. For example, the verb might be
admires.
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Lesson 3
You can examine a word within the context of a paragraph to determine what the
word means. Read the following example.
Frank began to assemble his new ***. He collected all the tools he
would need from the workbench and sat down on the floor next to
the box of parts. He began by turning the frame so it rested on the
seat and handlebars. He quickly inflated the tires and set them into
the frame. Next, he attached the chain to the gears and added
pedals. He continued by installing the brakes. He tested his work by
spinning the wheels and changing gears in rapid succession. Frank
congratulated himself on a job well-done!
Though the word bike is never mentioned in the preceding paragraph, you can
easily tell that Frank is working on his new bike. The information in the paragraph
clearly describes the process of assembling a bike.
You can examine a word within the context of an entire selection.
If you pay attention to the author’s background and the setting of
a story, you can determine the meaning of unfamiliar, even
foreign, words. Read the following paragraphs from “An Incident
at the Ghobashi Household.”
Zeinat woke to the strident call of the red cockerel from the rooftop
above where she was sleeping. The Ghobashi house stood on the outskirts
of the village and in front of it the fields stretched out to the river and the
railway track.
The call of the red cockerel released answering calls from
neighhouring rooftops. Then they were silenced by the voice of the
muezzin from the lofty minaret among the mulberry trees calling: “Prayer is
better than sleep.”
The setting of the story, “An Incident at the Ghobashi Household,” is a small
agricultural village in Egypt. Many people tend fowl and small animals close to their
homes in these villages. What kind of fowl calls out at dawn? Within the context of
the story, it is easy to tell that a red cockerel is probably a rooster.
Consider again the setting of the story to determine the meaning of muezzin. Egypt
is an Islamic country. The faithful pray five times a day. It follows that a muezzin
must be something that makes a noise to call people to their prayers. Read the
actual definition of muezzin below.
!
mu•ez•zin (my oo - e z’ i n , m oo -) n. Islam. The crier
who calls the faithful to prayer five times a day.
[Ottoman Turk. müezzin or Pers. muazzin < Ar.
mu'’ddin, active part. of '‘ddana, to cause to listen <
‘udn, ear.]
!
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Lesson 3
You determined much of the meaning of the word by examining the context of the
word within the entire selection.
Remember, you can often correctly determine the meaning of a word by examining
the sentence, paragraph, and selection in which it appears. The meanings of
individual parts of a word might also give you important clues about the overall
meaning of a word.
Plot in the Short Story
The plot is what happens in a story. The events which happen to the main
character, or protagonist, are the focus of a short story. There are as many
different plots as there are short stories. However, all short stories have a particular
structure, or an order, in which events are presented. The five main parts of a plot
are related through cause and effect: one event causes the next.
You may already be familiar with the representation of plot, as shown below.
climax
major
crisis
falling action
rising action
conclusion
inciting
force
introduction
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Lesson 3
The introduction of a short story provides the setting, character, motivation and,
sometimes, mood. Mood is the frame of mind or state of feeling a story creates in
the reader. (For example, love stories create a romantic mood.) After the
introduction, some inciting force, or an incident of great importance to the
protagonist (main character) will compel him to act.
The rising action contains conflict, complications and suspense. Conflict may be
internal, within the mind of the protagonist, or external, between the protagonist
and another person, nature, or the environment. A complication is the occurrence
of unexpected events that interfere with the plans of a character. Suspense occurs
when the reader wonders what will happen next in the story. Usually, the main
character faces a major crisis or makes a crucial decision which will affect his
future in the rising action portion of a short story.
The climax of a short story is the point of highest action or emotional impact. After
the climax, the action of the story slows or lessens in emotional impact. Some short
stories end at the point of highest action, or climax.
During the falling action, the suspense subsides and the pace of events slows. In
a short story, the falling action is usually quite short.
The final outcome of the story is briefly stated in the conclusion. In many short
stories, the climax, falling action, and conclusion occur very closely to one another
or, sometimes, simultaneously.
Flashback is sometimes used to provide information out of sequence with the basic
order of time used in most short stories. A flashback can help emphasize a
particular part of a story, provide background information, or explain a character’s
actions.
Flashback is a device by which a writer interrupts the present action of
a story to recreate a situation or incident of an earlier time.
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Lesson 3
Unity in the Short Story
A short story must “hold together” so the reader can follow its action and enjoy it.
There are four types of unity which well-structured short stories exhibit.
1.
Unity of Person
There is only one main character (protagonist) clearly described. There may
be a second character (antagonist) who is opposed to the protagonist. There
should be few minor characters.
2.
Unity of Action
There is usually one main event.
3.
Unity of Place
There is either one single location or, two or more locations are related so
logically that there is no strain on the reader.
4.
Unity of Time
The story takes place in a reasonably short period of time.
Person
Action
Unity
Place
Time
A unified short story illustrates unity of person, action, place, and time.
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Lesson 3
Circle the word or phrase which best completes each of the following
statements about the structure of short stories.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
The (suspense / plot) is what happens in a story.
The main character is also called the (protagonist / antagonist).
The five main parts of the plot are connected through (transitions /
cause and effect).
The (inciting force / introduction) of a short story provides the setting,
character, motivation and, sometimes, mood.
Conflict in a short story may be internal and/or (exothermic /
external).
The point of highest action or emotional impact in a short story is
called the (climax / apex).
In some short stories, the climax, falling action, and (complication /
conclusion) occur very closely to one another or, sometimes,
simultaneously.
(Flashback / Flash from the past) is a device by which a writer
interrupts the present action of a story to recreate a situation or
incident of an earlier time.
When only one main character is clearly described in a short story,
the story can be said to have unity of (person / place).
When a short story has only one plot with one main event, the story
can be said to have unity of (time / action).
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Lesson 3
“An Incident at the Ghobashi Household”
The events in the short story, “An Incident in the Ghobashi Household,” by Alifa
Rifaat, take place in a small Islamic village. However, chances are that you have
experiences of your own which will help you to identify with the characters in “An
Incident in the Ghobashi Household.” For example, what do you know about:
•
•
•
•
keeping secrets?
preserving reputation?
unwanted pregnancies?
mother-daughter relationships?
You may be familiar with the kinds of events that occur in the short story even
though it takes place in Egypt. Human experiences and relationships share many
similarities in spite of geographic and linguistic differences.
Your purposes in reading “An Incident in the Ghobashi Household” are:
•
•
•
to be entertained,
to extend your personal experience, and
to complete a reading guide as you progress through the story.
Alifa Rifaat (1930- ) is a pseudonym for Fatima Abdallah Rifaat, born in Cairo,
Egypt. Her Islamic faith has affected her life as a writer in many ways: when she
wrote a short story at the age of nine, she was punished. As an adult, she began
publishing short fiction under her pseudonym, but when her husband learned about
her literary career, he insisted that she stop writing. After an enforced silence of 15
years, she was permitted to resume writing during a period of ill health in 1973.
Since then, she has published some 90 stories. She writes in Arabic.
As one who believes in and accepts Islamic teaching, Rifaat has attempted to write
from her religious perspective, particularly as it applies to the lives of women.
“An Incident in the Ghobashi Household” appeared, in translation, in a 1983
collection called Distant View of a Minaret. The mother, Zeinat, is faced with a
problem: her unmarried daughter’s pregnancy. In searching for a solution, Zeinat is
concerned foremost with protecting her daughter and the life of the unborn child,
and only second with preserving her husband’s sense of honour. As for Hamdan,
the hired hand who is the child’s father, Zeinat wryly observes, “His account is with
Allah. He’s fine and doesn’t have a worry in the world.”
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Lesson 3
Hold On Just a Minute!
When you see a number in the text of the story, like this,
stop reading long enough to complete the corresponding questions in
the “Reading Guide for ‘An Incident at the Ghobashi Household’ ” in
Activity B.
Read “An Incident at the Ghobashi Household,” by Alifa Rifaat, which
follows.
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Lesson 3
An Incident in the Ghobashi Household
By ALIFA RIFAAT
Translated by Denys Johnson-Davies
Zeinat woke to the strident call of the
red cockerel from the rooftop above
where she was sleeping. The Ghobashi
house stood on the outskirts of the
village and in front of it the fields
stretched out to the river and the railway
track.
The call of the red cockerel released
answering calls from neighbouring
rooftops. Then they were silenced by
the voice of the muezzin from the lofty
minaret among the mulberry trees
calling: "Prayer is better than sleep."
She stretched out her arm to the pile
of children sleeping alongside her and
tucked the end of the old rag-woven
kilim round their bodies, then shook her
eldest daughter's shoulder.
It's morning, another of the Lord's
mornings. Get up, Ni'ma–today's market
day."
Ni'ma rolled onto her back and lazily
stretched herself. Like someone alerted
by the sudden slap of a gust of wind,
Zeinat stared down at the body spread
out before her. Ni'ma sat up and pulled
her djellaba over her thighs, rubbing at
her sleep-heavy eyes in the rounded
face with the prominent cheekbones.
"Are you going to be able to carry the
grain to the market, daughter, or will it be
too heavy for you?"
English Language Arts B30
Of course, mother. After all, who else is
there to go?"
Zeinat rose to her feet and went out with
sluggish steps to the courtyard, where she
made her ablutions. Having finished the
ritual prayer, she remained in the seated
position as she counted off on her fingers her
glorifications of Allah. Sensing that Ni'ma
was standing behind her, she turned round to
her:
"What are you standing there for? Why
don't you go off and get the tea ready?"
Zeinat walked towards the corner where
Ghobashi had stored the maize crop in
sacks; he had left them as a provision for
them after he had taken his air ticket from the
office that had found him work in Libya and
which would be bringing him back in a year's
time.
"May the Lord keep you safe while you're
away, Ghobashi," she muttered.
Squatting in front of a sack, the grain
measure between her thighs, she scooped up
the grain with both hands till the measure was
full, then poured it into a basket. Coughing,
she waved away the dust that rose up into
her face, then returned to her work.
The girl went to the large clay jar,
removed the wooden covering and dipped the
mug into it and sprinkled water on her face;
she wetted the tips of her fingers and parted
her plaits, then tied her handkerchief over her
head. She turned to her mother:
“Isn't that enough, mother? What do we
want the money for?"
Zeinat struck her knees with the palms of
her hands and tossed her head back.
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Lesson 3
"Don't we have to pay off Hamdan's
wage?–or was he cultivating the beans
for us for nothing, just for the fun of hard
work?”
Ni'ma turned away and brought the
stove from the window shelf, arranging
the dried corn-cobs in a pyramid and
lighting them. She put it alongside her
mother, then filled the teapot with water
from the jar and thrust it into the embers.
She squatted down and the two sat in
silence. Suddenly Zeinat said:
"Since when has the buffalo been
with young?"
"From after my father went away."
"That's to say, right after the Great
Feast, daughter?"
Ni'ma nodded her head in assent,
then lowered it and began drawing lines
in the dust.
"Why don't you go off and see how
many eggs have been laid while the tea's
getting ready."
Zeinat gazed into the glow of the
embers. She had a sense of peace as
she stared into the dancing flames.
Ghobashi had gone and left the whole
load on her shoulders: the children, the
two kirats of land, and the buffalo.
"Take care of Ni'ma," he had said the
night before he left. "The girl's body has
ripened." He had then spread out his
palms and said, "O Lord, for the sake of
the Prophet's honour, let me bring back
with me a marriage dress for her of pure
silk." She had said to him, "May your
words go straight from your lips to
Heaven's gate, Ghobashi." He wouldn't
be returning before the following Great
Feast. What would happen when he
returned and found out of the state of
affairs? She put her head between the
palms of her hands and leaned over the
English Language Arts B30
fire, blowing away the ashes. "How strange,"
she thought, "are the girls of today! The
cunning little thing was hanging out her
towels at the time of her period every month
just as though nothing had happened, and
here she is in her fourth month and there's
nothing showing."
Ni'ma returned and untied the cloth from
round the eggs, put two of them in the fire
and the rest in a dish. She then brought two
glasses and the tin of sugar and sat down
next to her mother, who was still immersed in
her thoughts.
"Didn't you try to find some way out?"
Ni'ma hunched her shoulders in a gesture
of helplessness.
"Your father's been gone four months.
Isn't there still time?"
"What's the use? If only the Lord were to
spare you the trouble of me. Wouldn't it be
for the best, mother, if my foot were to slip
as I was filling the water jar from the canal
and we'd be done with it?"
Zeinat struck herself on the breast and
drew her daughter to her.
"Don't say such a wicked thing. Don't
listen to such promptings of the Devil. Calm
down and let's find some solution before your
father returns."
Zeinat poured out the tea. In silence she
took quick sips at it, then put the glass in
front of her and shelled the egg and bit into it.
Ni'ma sat watching her, her fingers held
round the hot glass. From outside came the
raised voices of women discussing the
prospects at the day's market, while men
155
Lesson 3
exchanged greetings as they made their
way to the fields. Amidst the voices
could be heard Hamdan's laughter as he
led the buffalo to the two kirats of land
surrounding the house.
"His account is with Allah,"
muttered Zeinat. "He's fine and doesn't
have a worry in the world."
Ni'ma got up and began winding
round the end of her headcloth so as to
form a pad on her head. Zeinat turned
round and saw her preparing herself to
go off to the market. She pulled her by
her djellaba and the young girl sat down
again. At this moment they heard a
knocking at the door and the voice of
their neighbour, Umm al-Khair, calling:
"Good health to you, folk. Isn't Ni'ma
coming with me to market as usual,
Auntie Zeinat? Or isn't she up yet?"
Sister, she's just going off to stay
with our relatives."
May Allah bring her back safely."
you safely to your time. Then bring it back
with you at dead of night without anyone
seeing you or hearing you."
Zeinat raised the end of her djellaba and
put it between her teeth. Taking hold of the
old clothes, she began winding them round
her waist. Then she let fall the djellaba.
Ni'ma regarded her in astonishment:
"And what will we say to my father?"
"It's not time for talking. Before you go off
to the station, help me with the basket so that
I can go to the market for people to see me
like this. Isn't it better, when he returns, for
your father to find himself with a legitimate
son than an illegitimate grandson?"
Ni'ma looked at her mother
enquiringly, while Zeinat placed her
finger to her mouth. When the sound of
Umm al-Khair's footsteps died away,
Ni'ma whispered:
"What are you intending to do,
mother? What relatives are you talking
about?"
Zeinat got up and rummaged in her
clothes box and took out a handkerchief
tied round some money, also old clothes.
She placed the handkerchief in Ni'ma's
palm and closed her fingers over it.
"Take it–they're my life savings."
Ni'ma remained silent as her mother
went on:
"Get together your clothes and go
straight away to the station and take a
ticket to Cairo. Cairo's a big place,
daughter, where you'll find protection and
a way to make a living till Allah brings
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Lesson 3
Activity B
“An Incident at the Ghobashi Household”
Remember, read up to the number in the text of the story, then complete the
corresponding questions.
(15)
1.
In Context: Relationships, Motivation, and Feelings
Use your knowledge of determining meaning from context clues to
check (✔) all the phrases that correctly complete each of the following
statements. You must check several correct responses in some
questions.
a.
The character who will be the protagonist in the story is ***.
____ Ghobashi
____ Zeinat
____ Ni’ma
b.
In the context of the following sentence, “She stretched out her
arm to the pile of children sleeping alongside her and tucked the
end of the old rag-woven kilim round their bodies, then shook
her eldest daughter’s shoulder,” kilim most likely means a ***.
____ piece of wood
____ skirt
____ blanket
c.
In the context of the following sentence, “Ni’ma sat up and pulled
her djellaba over her thighs, rubbing at her sleep-heavy eyes in
the rounded face with the prominent cheekbones,” djellaba most
likely means a ***.
____ robe
____ table
____ hat
d.
While looking down at her daughter, Zeinat ***.
____ felt ill
____ noticed the girl’s beauty
____ noticed something alarming
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Lesson 3
e.
In the following sentence, “Zeinat rose to her feet and went out
with sluggish steps to the courtyard, where she made her
ablutions,” ablutions most likely means a ***.
____ washing or cleansing of the body
____ long, loose piece of clothing
____ breakfast
f.
In the phrase, “Zeinat walked towards the corner where Ghobashi
had stored the maize crop in sacks,” maize most likely means ***.
____ grain
____ woven mats
____ stones
g.
Zeinat wants to sell more grain at market so she can earn money
to ***.
____ buy new clothing
____ pay community taxes
____ pay Hamdan’s wages
h.
The sentence, “Since when has the buffalo been with
young” is an Egyptian idiom (metaphor) which most
likely means ***.
____ when did the animals get out of the yard
____ when did you become pregnant
____ when did you awake your smaller brothers and sisters
i.
Since Ghobashi has gone away to work in Libya, Zeinat alone has
been responsible for the ***.
____ children
____ two kirats of land
____ buffalo
j.
In the sentence, “Ghobashi had gone and left the whole load on
her shoulders: the children, the two kirats of land, and the
buffalo,” kirat most likely means a ***.
____ type of crop
____ measure of land
____ bank loans
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Lesson 3
k.
Zeinat is worried about ***.
____ making enough money
____ how Ghobashi will react to the disgrace
____ Ni’ma’s health
l.
In the following sentence, “Wouldn’t it be for the best, mother, if
my foot were to slip as I was filling the water jar from the canal
and we’d be done with it,” Ni’ma is referring to ***.
____ her death as a solution for her unwanted pregnancy
____ getting rid of the old water jar
____ running away from home
m.
When Zeinat mutters, “His account is with Allah,” she is
resentfully referring to ***.
____ Ghobashi, Ni’ma’s father
____ Hamdan, the father of Ni’ma’s child
____ Umm al-Khair, their neighbour
n.
We can tell that Zeinat loves her daughter because she ***.
____
____
____
____
____
o.
refuses to let Ni’ma speak of suicide
hides Ni’ma’s condition from relatives and neighbours
gives Ni’ma her life savings
disguises herself to appear pregnant
plans to pretend Ni’ma’s child is hers
We can tell that having children out of wedlock is shameful to the
Islamic people in this story because ***.
____ Zeinat is worried about Ghobashi’s reaction to the news that
Ni’ma is pregnant
____ Zeinat hides Ni’ma’s pregnancy from everyone
____ Hamdan is not informed
____ Zeinat prays faithfully
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Lesson 3
(4)
2.
What a Plot!
a.
(3)
b.
Number the following events in the order in which they appear in
“An Incident at the Ghobashi Household.”
____
i.
Zeinat comforts her daughter, who considers throwing
herself into the canal.
____
ii.
Zeinat worries about Ghobashi’s reaction to the news
of their daughter’s pregnancy.
____
iii.
Zeinat notices that Ni’ma is pregnant.
____
iv.
Zeinat reveals her plan to save Ni’ma from disgrace.
____
v.
Zeinat determines to solve the problem of Ni’ma’s
pregnancy.
____
vi.
Zeinat asks Ni’ma how long she has been pregnant.
____
vii.
Zeinat awakens to a typical morning in her Egyptian
village.
____
viii. Zeinat reveals what lie she will tell to save her
daughter’s reputation.
At what point does the climax occur in "An Incident at the
Ghobashi Household"? Explain.
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Lesson 3
(2)
c.
Place a check (✔) on the line next to each kind of unity that was
illustrated in “An Incident at the Ghobashi Household.”
____
____
____
____
(2)
d.
unity
unity
unity
unity
of
of
of
of
person
action
place
time
Examine the use of emphasis in the last sentence of "An Incident
at the Ghobashi Household."
“Isn’t it better, when he returns, for your father to find himself
with a legitimate son than an illegitimate grandson?”
Place a check (✓ ) on the line next to each kind of emphasis that
was illustrated in the preceding quotation.
____
parallel sentence structure
____
partial repetition of one word
____
placement of the most shocking idea in a sentence at the
end of a sentence
____
placement of the most shocking idea of a story at the end
of a story
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Lesson 3
Is That English?
Juggernaut
The word juggernaut comes from the Hindi world jaganneth, a title for
Krishna. In the past worshippers of Krishna would sometimes throw
themselves under the wheels of the huge wagons on which the idol of
Krishna was drawn during an annual procession.
In English, juggernaut is commonly used to refer to two things: an
overwhelming force that crushes everything in its path, or, a belief or
institution that elicits blind and destructive devotion.
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Lesson 3
Read On!
In the next section, you will have the opportunity to read one short story of your
choice from Modern World Literature. Choose either “Life is Sweet at Kumansenu”
or “The Pig.”
Brief descriptions of both stories follow.
“Life Is Sweet at Kumansenu”
Many West African tribal cultures believe in born-to-die
children, children who are supposedly reborn over and
over to the same mother, dying soon after each birth.
“Life Is Sweet at Kumansenu” is the story of Bola and
her seventh and only surviving child, Meji. Meji secretly
visits Bola and his daughter, Asi. However, Bola notices that all is not as it should
be: Meji does not cast a shadow, his watch has stopped at twelve o’clock, he does
not eat, he constantly wears a red handkerchief around his neck, he communicates
with his dead father, and his room smells of decay. The next day Bola realizes that
Meji returned from farther than she had thought to thank her for his life and to
remind her that life is precious.
“The Pig”
Recently retired and depressed, Kibuka is cheered by a hug and
the gift of a pig from his grandson. The piglet soon wins over
Kibuka’s heart and he is soon treating it like a pet instead of as a
meat animal. Kibuka gathers food scraps from all the neighbours
for the pig and allows it to sleep at the foot of his bed. He walks
the pig in spite of the pain he suffers in his feet. When a
motorcycle strikes the pig, Kibuka has the animal butchered, but
gives all the meat away. His reaction is surprising when he
unknowingly eats a dish containing some of his former pet.
Read the short story you have selected, the information on the
author’s background, and the Reader’s Guide. How does the situation
that the main character finds himself/herself in differ from your own?
How do we get our needs met through relationships with others?
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Lesson 3
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Lesson 3
Activity C
Read On!
Complete the following questions based on the short story you chose to read.
1.
Name the short story that you chose to read and its author.
_____________________________________________
(1)
2.
Name the main character.
_____________________________________________
(2)
3.
In a complete sentence, state the setting, both place and time, of the
short story. Refer to the "Reader's Guide" that precedes the short story
in Modern World Literature.
(1)
4.
a.
Quote one sentence from the story that expresses a very
important idea. Use quotation marks.
b.
In complete sentences, explain why you find this quotation to be
important.
(1)
English Language Arts B30
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Lesson 3
(2)
c.
Paraphrase the line you quoted in part a.
(1)
5.
Locate one word from the story that you used context clues to define.
State the word and the meaning of the word.
(2)
6.
In a complete sentence, state the climax of the short story.
(1)
7.
In a complete sentence, state one theme of the short story. (You may
wish to refer to ‘This Theme’s For You’ in Assignment One.)
(11)
8.
In the space provided on the next page, write a composition in which
you compare and contrast "An Incident at the Ghobashi Household" and
"Life Is Sweet at Kumansenu" or "The Pig” in regard to the following four
points.
•
any two elements of unity (person, action, place, time)
•
any two of the following elements
foreshadowing
tone
the supernatural
contrast
internal conflict
imagery
external conflict
irony
Include strong introductory and concluding statements. Use transition
words as illustrated in the section "Did You Say Compare or Contrast" of
Lesson Three.
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Lesson 3
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Lesson 3
Play with Key Concepts
Complete the following crossword puzzle, based on the names for some of the key
concepts in Lesson Three.
Down
Across
1.
5.
7.
9.
11.
*** poetry tells a story
*** refers to the implied suggestions,
feeling and atmosphere attached to a
word.
*** is a figure of speech in which a thing
is referred to by something closely
associated with it.
*** poetry that expresses thoughts or
emotions rather than actions.
*** is a device by which a writer
interrupts the present action of a story to
recreate a situation or an incident from
an earlier time.
2.
3.
4.
5.
6.
8.
10.
English Language Arts B30
168
*** is the repetition of the initial letter
sound of two or more words in a row.
A *** is a fourteen-line poem that deals
with a single emotion or idea and that
has regular rhyme and rhythm.
*** poetry uses monologue or dialogue
to reveal the character of the speakers.
*** are hints and related information
regarding the meaning of a particular
word.
*** is the use of picture-making words
or phrases to create vivid mental images.
A *** is an indirect comparison that does
not use “like” or “as.”
*** is the turning point of the action in a
story.
Lesson 3
English Language Arts B30
Module One
Assignment Three
English Language Arts B30
169
Assignment 3
Postal Code
4. Staple this address sheet to the appropriately
numbered assignment. Use one address sheet
for each assignment.
6.
Use sufficient postage.
5. Staple the appropriately numbered, green,
Assignment Submission Sheet to the upper
left hand corner, on top of this address sheet.
City or Town
Street or P.O. Box
2. Number all the pages and place them in
order.
3. Complete the required information details on
this address sheet.
Name
Province
Please print your name and address, including postal code in the
space below. This address sheet will be used when mailing back
your corrected assignment.
1. Write your name and address and the course
name and assignment number in the upper right
hand corner on the first page of each assignment.
Before you submit your assignment,
please complete the following procedures:
Technology Supported Learning
Saskatchewan
Learning
Assignment Number
03
Mark Assigned
Technology Supported Learning Teacher's Name
Course Title
English Language Arts B30
Course Number
8018
Student Number
Staple here to the upper left hand
corner of your assignment
Assignment Three
Values
(17)
A.
Submit Activity A.
(25)
B.
Submit Activity B.
(22)
C.
Submit Activity C.
D.
“Lot’s Wife”
(2)
1.
In one complete sentence, state a theme of “Lot’s Wife.” See
‘This Theme’s For You’ in Assignment One for information about
stating a theme.
(2)
2.
In a complete sentence, explain how the speaker views Lot’s wife.
Quote one line from the last stanza of the poem that illustrates
this. See the ‘Reading Poetry’ section of Lesson One for a
definition of speaker.
(1)
3.
What is the tone of “Lot’s Wife”? See the “Reading Poetry”
section of Lesson One for a definition of tone.
English Language Arts B30
173
Assignment 3
(8)
4.
Have you, like Lot’s wife in Anna Akhmatova’s poem, ever
regretted leaving something behind? Similarly, the speaker in
“The Female Vagrant,” by William Wordsworth, also regrets the
loss of her home. Mark the stressed and unstressed syllables in
the following lines. Indicate the type of metrical line and rhyme.
(One line has been completed for you.) Write a fourth line that
imitates the rhyme and rhythm of the first three. Refer to the
“Poetry” section of your English Language Arts Ready Reference
for information about rhyme and rhythm.
∪ / ∪ /
∪
/
∪
/ ∪ /
Can I / forget / what charms / did once / adorn /
Rhyme
a
Metrical Line
iambic
pentameter
My garden, stored with pease, and mint, and thyme,
And rose and lily for the sabbath morn?
E.
“I Am Not Lonely”
Follow the steps in this activity based on Gabriela
Mistral’s poem, “I Am Not Lonely.”
1.
Read the following information about Mistral and
her poem, “I Am Not Lonely.”
Gabriela Mistral (1889 – 1957) wrote of the simple, strong feelings of the
common people in her home, Chile. Good-humored and direct, Mistral
worked as a teacher, a principal, a poet, and a representative of Chile
abroad. She and her writing were enormously popular in her homeland. “I
Am Not Lonely” explores the bond between a mother and a child. In spite
of the ever-increasing loneliness in the world around her, the speaker of
poem is not lonely because she is comforted by the presence of her child.
2.
Ask yourself:
Have you ever felt lonely? Do you have a special relationship with
someone that prevents you from feeling lonely?
English Language Arts B30
174
Assignment 3
(3)
3.
Before you listen, review the explanation of connotative words in
Lesson Three. Listen for words that describe how the speaker
holds her child in Gabriela Mistral’s “I Am Not
Lonely.”
4.
Listen to “I Am Not Lonely.”
5.
Recall.
List three connotative words from the poem that describe how the
speaker holds her child.
______________________________
______________________________
______________________________
(1)
6.
Name a figure of speech used in the following lines.
“The night is left lonely”
“The sky is left lonely”
“The world is left lonely”
_____________________________
(2)
7.
Review.
In a complete sentence, explain what two things are contrasted in
“I Am Not Lonely.”
(1)
8.
Relate other knowledge.
a.
Check (!) the best answer. “I Am Not Lonely” is a ***
poem.
____ lyric
____ narrative
____ dramatic
English Language Arts B30
175
Assignment 3
(6)
b.
F.
Write a paraphrase of “I Am Not Lonely.” You may wish to
refer to Lesson Three, Lesson Twelve, or the "Special
Forms of Writing" section of your English Language Arts
Ready Reference.
“My Last Duchess”
(2)
1.
Notice in line 1 that the Duke refers to the person in
the portrait as “my last Duchess,” then to the count’s
daughter as “my object.” How does he view women?
(5)
2.
Read the following list of words that describe the Duke and
Duchess. Sort the words, writing them on the lines beneath each
heading to show to whose character each word refers. Add one
more word of your own with a suitable connotation to each list.
(You may wish to refer to your thesaurus.)
Word List
cruel
kind-hearted
sinister
haughty
arrogant
sensitive
passionate
responsive
English Language Arts B30
Duke
Duchess
____________________
____________________
____________________
____________________
____________________
____________________
____________________
____________________
____________________
____________________
176
Assignment 3
(3)
3.
Use quotation marks to quote lines from Browning’s “My Last
Duchess” to illustrate each of the following qualities.
•
the Duke’s arrogance
•
the Duke’s jealousy
•
the Duchess’ friendliness to everyone
English Language Arts B30
177
Assignment 3
“Life in the twentieth century is like a parachute jump –
you have to get it right the first time.”
- Margaret Mead
English Language Arts B30
178
Assignment 3
Acknowledgements
Technology Supported Learning acknowledges permission to use the following
resources in the preparation of Module 1 in English Language Arts B30. Every
reasonable effort has been made to trace the ownership of all copyright material
and to secure the necessary permissions to reprint it. If notified, Technology
Supported Learning will be happy to make corrections in future printings.
Lesson 1
“Dunbar, Paul Laurence.” Photograph. From Library of Congress. Permission to
reproduce pending.
“Emily Dickinson.” Photograph. From the Internet at
http://www.poets.org/poets/poets.cfm?prmID=156. Reproduced by permission of
Amherst College Archives and Special Collections.
“English Is an Accommodating Language,” by Ellen Goodman. From The Leader
Post, September 23, 1999. Permission to use pending from The Washington Post
Writers’ Group.
“I’m Nobody,” by Emily Dickinson. From Scholastic Scope Literature, Level 6, edited
by Katherine Robinson. Copyright©1991 by Scholastic Inc. Public Domain.
“Kenny, Maurice.” Photograph. From Smoke Rising. Copyright© 1995 by Visible
Ink Press. Permission to reproduce pending from White Pine Press.
“They Tell Me I Am Lost.” From The Smell of Slaughter, by Maurice Kenny.
Copyright© 1982 by Blue Cloud Quarterly Press. Used by permission of Maurice
Kenny.
“We Wear the Mask,” by Paul Laurence Dunbar. From The Collected Poetry of Paul
Laurence Dunbar by Joanne M. Braxton (Charlottesville: Virginia, 1993).
English Language Arts B30
179
Acknowledgements
Lesson 2
“Four-season Games for Girls,” by Clare BonEnfant. From The Globe and Mail,
January 7, 1997. Technology Supported Learning regrets it was unable to locate
Clare BonEnfant.
“My Face.” From The Benchley Roundup, by Robert Benchley, selected by Nathaniel
Benchley. Copyright© 1935 by Robert Benchley. Permission to use pending from
HarperCollins Publishers, Inc.
Lesson 3
“An Incident at the Ghobashi Household.” From Distant View of a Minaret, by Alifa
Rifaat. Selected and translated from the Arabic by Denys Johnson-Davies.
Copyright© 1983 by Heinemann Educational. Permission to use pending from
Quartet Books Limited.
“How Do I Love Thee,” by Elizabeth Barrett Browning. From Literature and the
Language Arts: British, edited by Eileen Slater. Copyright©1996 by EMC
Corporation. Public Domain.
“My Last Duchess,” by Robert Browning. From Literature and the Language Arts:
British, edited by Eileen Slater. Copyright©1996 by EMC Corporation. Public
Domain.
“Rifaat, Alifa.” Biographical information. From The Storyteller: Short Stories from
Around the World, edited by James Barry and Joseph Griffin. Copyright©1992 by
Nelson Canada. Used by permission of Quartet Books Limited.
English Language Arts B30
180
Acknowledgements