Curriculum Map - English Language Arts - Literature - British - 12th … 12... · 2019-07-01 · Anglo-Saxon and Norman conceptions of heroism. 5. Identify examples of epic conventions

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Quarter 1

Unit 1 TheMiddle AgesPart 1 Heroesof Old

(updated 6/28/19)

Recognize historicallysignificant people,forces, and eventsframing the literature ofthe Middle Ages.

1 .

Understand some broadconnections betweenthese and the era’sliterary trends andthemes

2.

Identify the heroicvirtues described in theintroduction.

3 .

Distinguish betweenAnglo-Saxon heroicideals and those of theHigh and Late MiddleAges.

4 .

Explain how culturalforces shapedAnglo-Saxon andNorman conceptions ofheroism.

5 .

Identify examples of epicconventions in an Anglo-Saxon epic.

6 .

Read oral poetry aloudwith attention to stressand alliteration.

7 .

Analyze the literaryelements of an epic andhow they contribute toits themes.

8 .

Analyze significantAnglo-Saxon culturalvalues (e.g., heroicvirtues) and practicesthroughout an oral epic.

9 .

Evaluate the virtues ofthe Anglo-Saxon heroicideal from a biblicalworldview.

10.

Identify the purpose of achronicle (historicalnarrative).

11.

Summarize the keyideas of a passage.

12.

Analyze how an author’sperspective affects hisinterpretation ofhistorical events.

13.

Unit 1Introduction: TheMiddle AgesPart 1Introduction:Heroes of OldAnonymous: fromBeowulfAnonymous: fromThe Anglo-SaxonChroniclePearl Poet: from Sir Gawain and theGreen KnightThomas Malory:“The Day ofDestiny” from LeMorte D’ArthurUnit 1 Part 1 TestReviewUnit 1 Part 1 Test

Unit 1 IntroductionWeb Links for StudentEngagement

Beowulf read in OldEnglish (audio weblink)Celtic Music (audioweb link)Web Links forFurther InformationThe Normanconquest (video weblink)The feudal system(video web link)The Great VowelShift (video web link)Old English (videoweb link)

A short children’s booknotable for its use ofRhythm and sounddevices

Unit 1 Part 1 Teaching Help 1.2What Makes a Hero?(video web link)Teaching Helps 1.3 and1.4A recording ofAnglo-Saxon musicplayed ona lyre

Beowulf and theAnglo-Saxons(video web link)Bagby’s Beowulf(video web link)Seamus Heaneyreads Beowulf(audio web link)

Teaching Helps 1.7 and1.8Arthur: King of theBritons (video web link)

The Search for KingArthur (video weblink)The Truth Behind theLegend of King Arthur(video web link)

Use the following tasks to examinethe Church’s role in medievalsociety. First, list together thepositive effects the Church had onmedieval life with positivedescriptions of the Roman CatholicChurch’s influence. It is true thatthe institution accomplished manygood things through its members’works, but this fact does notexcuse the doctrinal problems thatdeveloped in the institution. Onthe other hand, the fact thatbiblical truth and grace shonethrough despite these errors is atestament to the power of God’sWord and of the Holy Spirit’s workin individual hearts.Review the initial role of theRoman Catholic Church in the HighMiddle Ages (p. 8). Remindstudents of the corruptionforeshadowed in the section’s lastsentence.Ask students to skim the firstparagraph and call out adjectivesthat described the Church andclergy.Similarly, prudence determines thebest means for obtaining a propergoal: it makes all the other virtueswork. It helps a person decidewhether an action demonstratesfortitude or rashnessGuide students to understand theplace of virtues in a Christianworldview. The Christian life is notsimply about keeping a list ofrules, nor can the Christian simplyfollow his or her heart. Instead, theChristian aspires to have a virtuouscharacter so that his authenticway of acting is conformed toGod’s law. This is a processempowered and guided by theHoly Spirit but also engaged in bythe believer. Like a musician orartisan whose practice has madethe exercise of his craft flownaturally, so the Christian,empowered by the Holy Spirit,

At the lesson’s beginning, askthe students how their ownconceptions of heroism havechanged since they werechildren. Call on two or threevolunteers to give examples.Inform students that humansacross history have looked toheroes to fight their biggestenemies—gigantic beasts, floodsand famine, plagues, thinkingcomputers, book-burninggovernments, and slavemasters. People look for andcreate heroes because they seeproblems in their societies andwithin themselves. As you studyAnglo-Saxon heroism, considerthe universality of these heroicideals.Display Teaching Help 1.2 andtalk through the process as youfill in the definition of one of theheroic virtues and one scriptural,literary, or real-life example.Allow about five minutes forstudents to finish the graphicorganizer on their own.Divide students into threegroups (one for each remainingvirtue). Ask them to discusstheir answers and construct ajoint definition with validexamples. A volunteer fromeach group can share thesematerials with the class. (SeeTeaching Help 1.2 Key foranswers and possible examples.)The heroic virtues werereflections of both the lifestyleand the cultural and religiousvalues of Anglo-Saxons andNormans. Once students havecompleted the handout, directthem to summarize how andwhy the heroic virtues changedover the course of the earlyMiddle Ages.Guide students to understandthat Christian conceptions of thevirtues listed here could

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Curriculum Map - English Language Arts - Literature - British - 12th Grade (3rd Ed.)

Analyze how a characterexhibits or lacksAnglo-Saxon heroicvirtues.

14.

Evaluate a historicalnarrative for writer bias.

15.

Identify thecharacteristics of apoetic romance.

16.

Analyze the use ofsymbol in poetry toenhance theme.

17.

Apply knowledge of thechivalric code tounderstand the author’stone and message.

18.

Evaluate a character’sactions against thechivalric code andbiblical ideals.

19.

Summarize a text’s keyinformation.

20.

Apply historical contextto understand a text andits themes.

21.

Justify a text’s genre as aromance or a legend orboth.

22.

Analyze a character as aChrist figure and itsconnection to the work’sthemes.

23.

Create a reflectiveparagraph tohypothesize what Arthurwould think of thecurrent culture if hereturned today.

24.

actively seeks to develop virtue(see Gal. 5:22–25 and 1 Pet. 1:3–8).Share the following definition ofvirtue: virtue is moral excellencethat has become a part of aperson’s character. Point out thatvirtue has long been an emphasisin Christian teaching.Draw students’ attention to themix of pagan and Christianworldviews expressed in thestory’s details.Remind students that heroes doexist in real life. And we maycharacterize them by particularvirtues such as those importantduring the Middle Ages. Ask Do allheroes always fulfill ourexpectations? (no) Should we thennot respect them, since they arenot perfect? (No, respect does notrequire perfection.) Ask Whatshould we conclude about them? (They are naturally flawed [Rom.3:23], but because of God’scommon grace, people who arenot regenerated can developcertain virtues. These virtuescannot merit salvation from God,but God’s grace shown toward allmen keeps sinners from being asbad as they can be and helpsthem be loyal, prudent, brave, etc.on the human level [Matt. 5:46–47;7:11].)Be sure to point students to theScripture. The Bible does teachthat we should forgive all whotruly repent (Luke 17:3–4). Peopleshould be given a second chancein certain circumstances (Acts15:37, 2 Tim. 4:11), although thisis a matter for discernment aseven mature Christians mightdisagree (Acts 15:37–39). Thereare some sins that, thoughforgiven, disqualify a person fromcertain avenues of service (2 Tim.3:1–13).Evaluate the poem’s resolution inlight of Scripture. Reference theanswer to Think and Discussquestion 8 if needed.Explain to students that Christfigures abound in Westernliterature. One obvious examplethat may be familiar to them isAslan from The Chronicles of

sometimes be quite differentfrom medieval conceptions.Once the groups haveestablished the connections,direct them to present theirinformation to the rest of theclass. Divide students into threegroups. Assign one of thefollowing topics to each group:historical setting (religioustendencies, the oral tradition,etc.), social values (theimportance of honor, family, andhistory itself, as well as the fourheroic virtues), and the role ofliterature (an epic’s conventionsand its textual features). Eachgroup should review the unitintroduction, the partintroduction, and theintroduction to Beowulf toestablish the cultural background.Once the groups haveestablished the connections,direct them to present theirinformation to the rest of theclass.Lead a discussion on theimportance of the informationpresented as the narratorrelates Hrothgar’s genealogy(also an example of an epicconvention, the catalog). Guidestudents to understand thatbeginning with a short historyimplies the poem’s epic scope.Additionally, the genealogyestablishes that Hrothgar is partof a line of stable rulers who arethemselves heroic (see Shild).They have also honorablyfulfil led the comitatus bond forgenerations by protecting andgenerously rewarding theirpeople. Although he does notnow play the warrior, Hrothgar’strustworthiness is established.As you and your studentsprogress through the text,discuss how Beowulf andHrothgar exhibit heroic virtues indifferent ways.To further aid your students inanalyzing and evaluating theAnglo-Saxon heroic ideal, dividethe class into three groups anddirect them to completeTeaching Help 1.4. Students

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Narnia. His story is more tightlyparalleled to Christ’s than mostmodern Christ figures. Most oftensuch characters sacrificethemselves for the good of others,but more parallels to Christ thanthat are usually required to qualifyas a Christ figure. And,surprisingly, these characters arenot always sympathetic. Studentsmay have studied the latter sort ofChrist figure through FlanneryO’Connor’s story “The Life YouSave May Be Your Own” includedin BJU Press’s American Literature,Third Edition. In this story, themain character’s parallels to Christhighlight his own moraldeficiencies.

should analyze the presence orabsence of heroic virtues inHrothgar, Beowulf, and Grendel.Point their attention to DuringReading questions 20B, 22A,23E, and 25C as starting pointsfor their analysis.Draw attention to lines 331–56band consider what they conveyabout Beowulf ’s heroiccharacter. Note that he exhibitsAnglo-Saxon heroism’s uniquecombination of pride andhumility. To Hrothgar, Beowulfspeaks of his own brave deeds inglowing terms. His tone may atfirst seem prideful andself-interested, but he avoidsthis by framing his boasts interms of service for the good ofHrothgar and his community.Additionally, his decision to fightwith his bare hands might seemfoolish today (lacking inprudence) but would have shownespecial honor and fortitude inAnglo-Saxon times.Ask students to choose aninstance of stock epithet onpage 29 of the text and to statewhat effect it achieves incontext of themes or the genreof Beowulf. Students may selectthe stock epithet for Grendel“That sin-stained demon” anddiscuss how it expresses theconflict between good and evilin the story. This particular stockepithet also shows the influenceof Christianity in Anglo- Saxonculture in the references to sinand a demon. This stock epithetis also one way in which Beowulfis elevated to a larger-than lifehero since he must fight a beastthat is described in spirituallymenacing terms.Choose a work that the class hasstudied together previously andthat contains a significantsymbol. Use this work toreinforce the concept of asymbol and to remind studentshow to identify one. Forexample, in BJU Press’s American Literature, ThirdEdition, Updike’s “Still of SomeUse” uses a key symbol (old

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board games) to develop animportant moment in a brokenfamily’s emotional life. Thegames symbolize the past,especially the family’s formerhappiness and cohesion. Theyalso symbolize the family’sfractured condition. Like thegames they are throwing away,the family is broken and ismissing “one or two pieces” (i.e.,parents).Have students work in pairs togive examples of other worksthey have studied that containsymbols. American Literaturecontains several other possibleexamples. In Hawthorne’s “TheBirthmark,” Georgiana’sbirthmark is a symbol of originalsin, the flaw every human isborn with and inherits fromAdam. In Melville’s “Bartleby,the Scrivener,” walls symbolizeisolation. In Wilder’s drama TheHappy Journey to Trenton andCamden, the journey symbolizeslife.The Green Knight exhibitsobvious similarities to a figure ofBritish folklore, the green man.Depictions of the green manusually consist of a bearded manwith leaves such as ivy adorninghim and coming out of hismouth and/or ears. A somewhatmysterious personage, thegreen man’s significance is notalways clear. With similarcounterparts in folklore aroundthe world, the green man istypically considered to representnature and its forces, especiallyaspects such as fertility and thenatural life cycle. In this work,the similarities of the GreenKnight to this figure mightpossibly offer a contrastbetween wild nature and thepagan world and the highlyordered and contained world ofArthur’s court, with its code ofchivalry and Christian influences.Direct students who are EnglishLanguage Learners or whostruggle with reading to useTeaching Help 1.6 for additionalhelp in detecting symbols and

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organizing their analysis of thesymbols’ meanings.Direct students who areadvanced readers to exploreadditional symbolism in SirGawain. For example, what doesthe color red symbolize in thepoem? Instruct students toconsider the following: (1) thered of the holly branch, (2) thered background on Sir Gawain’sshield, (3) the red ring offered toGawain by the queen, and (4)the wily red fox in the hunt.Additionally, advanced readerscould explore the significance ofthe number three in the poem.Inform students that the holly’ssymbolism has a complexhistory. Its signifying peace mayhave been connected to themedieval association of hollywith Christ. The leaves’ pointswere like His crown of thorns,while the red berries suggestedHis blood. But holly also hadsignificant and older pagansymbolism. As an evergreen, itrepresented immortality, whichcould easily be made to fit withChrist’s death and resurrection.But the plant was sacred to bothDruids and Romans, and it couldbe that these older symbols alsoplay a part in what the authorwishes to evoke here. Theywould fit with the Green Knight’sconnection with nature and thegreen man.Beheading games were actuallynot uncommon as a plot devicein medieval romance literature.Modern readers are often a littleshocked at first encounter, butmedieval readers would havequickly recognized and adaptedto its use as a fantasticalelement meant to advance thework’s themes.The excerpt in the textbookincludes Gawain’s return to andreception at Camelot only insummary. The reader learns,however, that “thereafter, everyRound Table knight wears agreen sash in honor of SirGawain and as a reminder ofboth the frailty of their human

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hearts and the virtue ofhumility.” Envision an incidentin which another knight’s greensash and its symbolism fortifieshim in a time of testing. Talkthrough a scenario with apartner, together outline theplot, and then relate theincident in written prose. Theincident need not be long. Thewriting can be divided into twoparts so that both students areinvolved.Read the definition of legend inthe Analyze strand. Bring upsome examples of legends thatstudents are familiar with. Forexample, Americans might befamiliar with the legends ofJohnny Appleseed, Daniel Boone,Davy Crockett, and John Henry.Guide students to notice thatwhile these people actuallyexisted, some of the stories thathave accrued to them are notfactual.Struggling readers can befrustrated by too many longwriting assignments. Allowstudents to answer the lastThink and Discuss question byplanning and performing a two-to three-minute dialogue withArthur’s imagined response tothe twenty-first century and itsresponse to him.

Unit 1 TheMiddle AgesPart 2Literature andCommunity

(updated 6/28/19)

Explain some of thepractical realities thatshape literature formedieval communities.

1 .

Identify two main waysin which literaturestrengthened medievalcommunities.

2 .

Identify conventions ofAnglo-Saxon oral poetryin a text.

3 .

Apply historical contextto understand a text.

4 .

Analyze how a textexhibits characteristicsof hagiographies.

5 .

Analyze the use ofvariation and epithet inOld English poetry.

6 .

Assess a text’s7 .

Part 2Introduction:Literature andCommunityBede: “Caedmon’sHymn” from AnEcclesiasticalHistory of theEnglish PeoplePopular Genres

Anglo-SaxonRiddlesBallads: “SirPatrick Spens,”“Get Up andBar the Door”MedievalLyrics: “TheCuckoo Song,”“I Sing of a

Data on life expectancyin the United States“Caedmon’s Hymn” (OldEnglish) (audioweb link)“Caedmon’s Hymn”performed as a song(audio web link)Teaching Help 1.9Ballads and songs(audio web link)Additional Anglo-Saxonriddles (web link)Teaching Help 1.10Short documentary onthe Passion play inOberammergau (videoweb link)

Both of the ballads addressjustice—one seriously, onehumorously. Justice can be definedas giving everyone his due. Whatdoes God say about justleadership? What do theScriptures say about governmentaljustice? (1 Kings 10:9, Jer. 22:15)What do they say about justice inthe home? (Phil. 2:3; Eph. 5:22;5:28–29). It is important to notethat whether the social criticismembodies justice or injusticedepends on the worldviewembodied in the story.Draw students’ attention to thefirst stanza in which Mary “chose”(l. 4) her son. Scholars point to thisas a depiction of Mary’s choice tosubmit to God’s will. The quietness

Lead a discussion of thecircumstances that shapedmuch of medieval literature.Highlight the importance ofcommunityConsider ways in which theheroic literature of Part 1 mightillustrate one or both of thesepurposes for strengthening thecommunity.Follow up on students’examination of the poem’simagery with a short analysis ofits unity and progression. If youhave not already, review thedefinitions of these concepts (p.64).Encourage students to addadditional comments from theclass discussion with a different

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Assess a text’seffectiveness using thecriteria of unity andprogression.

7 .

Identify characteristics oforal literature in a work.

8 .

Read a work aloud toappreciate its craft.

9 .

Infer a work’s meaningsfrom its details.

10.

Analyze ballads, songs,and riddles forcharacteristics of thesegenres.

11.

Evaluate a theme ofinjustice from a biblicalperspective.

12.

Describe thecharacteristics ofdevotional literature.

13.

Analyze the stylisticfeatures of a text.

14.

Examine nonfiction textstructures.

15.

Evaluate an author’sperspective on sin andGod’s love from a biblicalworldview.

16.

Define the three maingenres of medievaldrama.

17.

Explain the purposes ofmedieval drama and itseffects on communities.

18.

Evaluate the worldviewin Everyman.

19.

“I Sing of aMaiden”

Julian of Norwich:from Revelationsof Divine LoveLonger Works ofLiterature

MedievalDrama:Everyman

submit to God’s will. The quietnessof the images that followemphasize the mysteriousness ofthe virgin birth as well as herpassive submission in the miracle.Thus, she is lauded for herconformity to God’s will. Althoughstudents may rightly suspect thatsuch a hymn could support anunbiblical veneration of Mary, thetext correctly praises her for thisvirtue.In her writings, Juliandemonstrates a strongcommitment to a key tenet of bothmedieval and contemporaryRoman Catholic theology:redemptive suffering. According tothe doctrine of redemptivesuffering, faithful Christians mustseek suffering in order to achievetheir own salvation. (See theCatechism of the Catholic Church,numbers 307, 793, and 1521.) Thisis at odds with a biblicalunderstanding of suffering, whichis that, while God allows sufferingfor various reasons, Christiansshould not seek suffering itself.Rather, they should follow Christ,and in following Him, they willencounter suffering (2 Tim. 3:12).Our salvation is not dependent onour willingness to suffer; it isentirely of grace. Revelations ofDivine Love is also noteworthy forits extended discussion of themotherhood of God. According toJulian, our being dwells within Godjust as a baby dwells in hermother’s womb. Therefore, Julianinsists, God loves every humanwith a mother’s tenderness. Julianalso argues that, because Christ isthe author of our salvation, thesecond person of the Trinity ismost truly our mother. Given thetumultuousness of her time, it isunderstandable that Julian soughtfor a motherly kindness in Godthat transcended the sufferings ofeveryday reality. But Julian’sinsistence on God’s motherhood isunbiblical. While the Bible doesoccasionally illustrate God’s lovefor His people by comparing it tothe love of a mother (e.g., Isa.66:13, Matt. 23:37), the Bible

class discussion with a differentcolor than they used for theirown original notes andcomments in any selection theyare studying. This approachhelps students to distinguishbetween their original ideas andideas from class discussion andto recognize how their ideasdevelop.Ask students whether they foundthis use of personificationmisleading. Ask them to pointout the images and share howthe images may have beendeceptive at first. (Frequentlysees war but has no help inbattle, swords bite into it/him,death blows— all of these seemto imply a person at first.)Display another translation of anAnglo-Saxon riddle and solve ittogether with students. (SeeTeacherToolsOnline.com forlinks to examples.) Directgroups of students to list textualdetails to support their answer.Guide the class as they come toa consensus on an answer and alist of textual details.Direct groups to compare theirlists. Instruct them to discussany differences and to makesure they agree on aninterpretation of the basic clues.They should decide on ananswer and share it with theclass. Inform students of the realanswer and explain it if needed.To grasp the ballad’s overallstory line, play a recording ofthe poem being read aloud (seeTeacherToolsOnline.com).Students should follow along inthe text. Then instruct studentsto do a second, silent read,paying close attention to dialectand glossed words.Distribute Teaching Help 1.9 anddivide students into groups.Direct groups to summarize theballad’s narrative in the secondline of the chart. Then instructthem to annotate the stanzatype, stressed syllable count,and rhyme scheme. Use DuringReading question 70C. Finally,guide students to identify the

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teaches us to pray to God as afather, and our relationship to Himis primarily pictured in father-childor husband-wife terms (e.g., Eph.5:22–33).The second paragraph of Chapter3 is largely biblical in its content.The willingness to die if it wouldbring God glory and the desire tolive longer to know and love Godbetter are good motivations.Examine the rest of paragraph 3.Ask How might Julian’s descriptionof being one with God fit with John15:1–11?Chapter 82’s first paragraphaddresses the balance of God’sgrace and His expectations forrighteous living. Remind studentsthat God’s love in forgiving sinshould be seen in light of thecross. That God does not hold sinagainst believers is a result ofmore than His love for sinners.Only because Christ bore man’spenalty can sinners receive Hisforgiveness. Julian is not denyingthat humans are fallen sinners.But she says God sees people wholove Him as standing, even thoughthey have fallen in sin. The biblicalexplanation for this view of fallensinners as righteous is that Christpaid the penalty in sinners’ stead.

form of the poem (balladstanza), supporting their answerwith textual evidence.Remind students that balladskeep their content condensed byabrupt shifts in places whereveraudiences can reasonably fill inthe informational gaps byinferences.“I sing of a maiden” celebratesthe Annunciation of Mary andthe virgin birth. Scholars believeit was probably sung in medievaldramas depicting the eventssurrounding Christ’s birth. It is acarol in an older, broader sensethan we use the term today,being a popular song meant tobe sung during religiouscelebrations.Direct groups to summarize thenarrative in the second line oftheir chart (Teaching Help 1.9)for “Get Up and Bar the Door.”They should also complete thechart’s remaining columns forthis selection, annotating thepoem’s stanza type, meter, andrhyme scheme. Especially notethe use of repetition in the mainphrase “Get up and bar thedoor.”Direct students to take turnsreading lines of the song. Directthem to discuss During Readingquestion 73F. Using theattached sections, lead a briefdiscussion on the song’simagery.Address the motivate questionand prompt with students.Tease out their authenticanswers through group or pairdiscussions or student writing.Although there are often noright or wrong answers, applyScripture if needed. Connectstudent responses to theconcerns of Julian in Revelationsof Divine Love.The first paragraphs fromChapter 2 reference Julian’sdesire to experience Christ’sPassion through a vision. Thisdesire is a problematic aspect ofmedieval spirituality. The NewTestament teaches that theBible is God’s complete

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revelation (2 Pet. 1:16–21).Direct students to silently readChapter 3, looking for potentialsignal words in the textstructure to follow. Ask avolunteer to identify any signalwords.Some students may be botheredby the references to the crucifixin the text. In medieval timesespecially, images werecommon in Catholic worship. TheBible clearly forbids worshipingwith graven images (Exod.20:3–6). Instead, the Biblefocuses on the written Word(the Bible itself) as the propervehicle to communicate Truthand allow the Holy Spirit to workin lives. Some believers inferthat Christians should create noimages of God at all, includingthose intended as comfort forbelievers. What exactly Julianbelieved about the crucifix isunclear, but it is interesting tonote that here she says it isunnecessary: her mind isalready focused on heaven, andher trust is in God’s grace.In Chapter 27 Julian writes thatin her showings she sees neitheranger nor forgiveness in Godbecause sin is nothing. And yetthe Roman Catholic Churchclearly taught that people do sinand will suffer punishment forsin in hell. Julian does not denythe teaching of the Church northat of her vision but uses theseeming contradiction as aninducement to furthertheological reflection. She isright for not rejecting teaching(which, in this case, is clearlybiblical) when it stands intension with her vision. But thisincident also shows the dangerof relying on extra-biblicalsources when defining theology.Elicit from students comparisonsbetween medieval drama andmodern drama. Frame theircomparisons using the fivejournalistic questions (who?what? where? when? why?).Remind students that film is amodern form of drama.

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Elicit from students the threemajor types of medieval drama.Define and discuss eachtogether. Note especially the fullcommunity involvement in themystery plays, and the ways inwhich everyone participated.Tell students the story behindOberammergau’s Passion play(a type of mystery play depictingthe last days and deathof Christ). SeeTeacherToolsOnline.com for alink to a short documentarypresenting the production’shistory.Ask for volunteers to voiceEveryman, Good Deeds, andKnowledge. Give them time toprepare before reading theselection aloud.Briefly discuss what studentsnotice about the script’s style.Assign students to groups.Direct each group to write ashort morality play of their own.They could use their skit toaddress a modern cultural issue(e.g., to warn against takingdrugs or smoking, to highlightenvironmental concerns) or toanswer a timeless spiritualconcern (e.g., how to find realpeace, how to maintain goodrelationships). Remind them ofthe characteristics of moralityplays. Their characters shouldrepresent abstract concepts orstock characters (e.g.,Everyman). Their main topicshould be easily applicable tothe audience, and their dialogueshould be simple and direct.Allow each group to performtheir final skit for the rest of theclass.

Unit 1 TheMiddle AgesPart 3ChangingSociety

(updated 6/28/19)

Recall the definition ofsatire.

1 .

Explain how the societalstruggles and changes ofthe late Middle Agesaffected the literature ofthe day.

2 .

Evaluate the tool ofsatire through a biblicalworldview.

3 .

Identify the4.

Part 3Introduction:Changing SocietyGeoffrey Chaucer:from “ThePrologue” to TheCanterbury TalesGeoffrey Chaucer:“The Nun’s Priest’sTale”Longer Works of

Editable Writing Rubric(web link)Teaching Help 1.11A copy of Dr. Seuss’s The Cat in the HatRed and blue flags madeof construction paperand respectively labeledwith D (for directcharacterization) and I(for indirect

Guide students to anunderstanding of the followingtruths: Satire is actually a biblicallyjustified genre (1 Kings 18:27;Matt. 7:3–5; 11:16–19; Luke18:2–5, 10–12), but its use mustbe governed by love forneighbors—love for those beingtreated unjustly by the person orinstitution being satirized, and lovefor the person being satirized—in

Review the definition of satirewith students (p. 85). Offer someexamples of satire that studentswill be familiar with. Forinstance, many comedysketches are satirical in nature,as are political cartoons.Cervantes’s Don Quixote,Huxley’s Brave New World, andOrwell’s Animal Farm or Nineteen Eighty-Four are also

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Identify thecharacteristics of a frametale in a text.

4 .

Apply historical andsocial context tounderstand a text.

5 .

Analyze an author’s useof character to createsatire.

6 .

Analyze an author’s useof irony (verbal andsituational) and tone tocreate satire in a text.

7 .

Create a satiricalcharacter sketch basedon a textual model.

8 .

Identify thecharacteristics of beastfables and mock epics.

9 .

Compare two or moretexts.

10.

Analyze the use of satireto critique society.

11.

Evaluate theeffectiveness andappropriateness ofChaucer’s use of satirefrom a biblicalperspective.

12.

Identify key genrefeatures and themes of Piers Plowman.

13.

Describe the culturalforces that produced thework and its satire.

14.

Longer Works ofLiterature

Will iamLangland: PiersPlowman

Unit 1 Parts 2 and3 Test ReviewUnit 1 Parts 2 and3 Test

(for indirectcharacterization)Student EngagementWeb Links

Il luminatedCanterburymanuscriptsVirtual tour ofCanterbury CathedralA recording of “ThePrologue” read inMiddle English

Informational Web Links Video aboutChaucer’s MiddleEnglishExamples of verbaland situational irony

for the person being satirized—inthe hope that the satire willprovoke change. Christians doneed to be careful that they donot manipulate or bully others intheir written or spokencommunication. Wisdom is neededto know when satire is theappropriate rhetorical tool andwhen it would be harmful orcounterproductive.Revisit the motivatequestion—“How do you judgesomeone?” Ask Does the Bibleallow us to judge other peoplewhen they do bad things? (Answers will vary. Some studentswill say that only God knows theheart and that man sees only aperson’s outward appearance,actions, and speech.) Guide thediscussion with passages such asJohn 7:24, which commands thatwe judge righteously. Also provideexamples of people who, likeSolomon, had to make judgmentsof others. We must rely on God’sWord and on the guidance of theHoly Spirit as we judge. In order tojudge righteously we need to befeeding on God’s Word every dayso that we ourselves do not fallinto sin as the Friar did. Power hasthe ability to corrupt even the bestof us, and it certainly corruptedthis member of the clergy.Ask From a biblical worldview, canChristians sign off on Chaucer’sview of the Wife of Bath? (Yes andno. It is true that she is much nicerthan some of the other pilgrimsand that her frank honesty can beadmirable. It is also true thathumans will never arrive atperfection on their own. However,God takes all sin seriously, and soshould we. The Wife suffers from afocus on earthly pleasures in herhypersensuality. She also rejectsGod’s values in the matters ofsocial pride and appropriatemarriage dynamics. These areserious problems.)What is the Summoner’srelationship to Middle Ages’spirituality and morality? (He canforce others to keep the laws forwhich he has little understanding

Nineteen Eighty-Four are alsofamous satirical novels studentsmay be familiar with. LikeChaucer, these writers did notmerely point out a problem; theywrote to promote real change intheir society.The art of satirical writing datesback to long before Chaucer.Ancient literature containscopious examples.Divide students into groups ofthree and direct them to read asatirical article (seeTeacherToolsOnline.com forlinks to articles). They shouldrecord what the article’s contextis (whether political, social,academic, philosophical, ortheological), who or what theobject of the satire is, how thewriter creates satire in thearticle, and how effective thesatire is. Students can sharetheir findings with the class.Challenge students to createtheir own compositions satirizinga topic from current events. Thisassignment could be a groupexercise done in class or anindividual homeworkassignment; it could be an essayor even a comedy skit. Sharestudents’ work with the rest ofthe class. Let the class vote onwhich compositions they findmost persuasive (and of courseappropriate in tone). Post theseon your school or class website.If you wish to grade theassignment, you can find aneditable writing assignmentrubric at TeacherToolsOnline.com.Those pilgrims who did manageto get their tales included in TheCanterbury Tales are thefollowing: the Knight, the Miller,the Reeve, the Cook, the Man ofLaw, the Wife of Bath, the Friar,the Summoner, the Clerk, theMerchant, the Squire, theFranklin (freeman), thePhysician, the Pardoner, theShipman, the Prioress, theNarrator, the Monk, the Nun’sPriest, the Second Nun, theCanon’s Yeoman (a late additionto the collection of pilgrims), the

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or respect.) Ask How doesChaucer’s criticism align withbiblical Truth, Goodness, andBeauty? (Answers will vary.Students may mention that theBible preaches against thehypocrisy of the Pharisees andcommands that we examine ourown lives closely before wepresume to cast judgment onothers. In addition, we are to layup for ourselves treasure inheaven. People are immenselymore important than possessions.The Summoner has hugely skewedpriorities and manipulates peoplein order to advance his own powerand wealth. The Bible teaches thatthose who are spiritual shepherdshave great responsibilities not tobe taken lightly [1 Tim. 4:12].)Chaucer’s religious norm in thiswork is the Parson. Ask How couldpastors, missionaries, or teacherstoday use Chaucer’s Parson as amodel for their behavior?(Students may say that pastorsand teachers should preach theTruth and be examples to others.) Ask Is Chaucer describing theParson for just the clergy’sbenefit? (No, this example is foreveryone to benefit from.) AskWhat Bible passages or principlesdirect believers to act as theParson does? (Students mightmention 1 Tim. 4:12, Matt. 7:1–3, 2Tim. 2:15, and Eph. 4:15.) TheParson was part of the solution tothe problems of his day. Ask Howcan a Christian’s devotion tofollowing and obeying God createsolutions for the problems in ourworld? (God uses Christians’obedience to restrain the power ofsin. He also uses the testimony ofChristians to lead those who donot know Him to Himself. As theHoly Spirit leads individuals,vocations or other life-callingsprompt Christians to solve specificproblems and help specific people,and those solutions and helps canbring glory to God.)The priest uses this comparison toGenesis to help support certainclaims about women. Examine histone toward Pertelote using During

Manciple, and the Parson.Remind students that Chaucerand other writers of his timeowed a debt to Continentalliterature (pp. 11–13). Advancedstudents could gain a moreglobal perspective on Chaucerby researching how Continentalwriters such as Dante,Boccaccio, and Froissartinfluenced him. Students couldwrite paragraph- or essay-lengthcompositions reporting on howone of these authors or aparticular Continental genreinfluenced the content or styleof Chaucer’s Canterbury Tales.This lesson is written under theassumption that students havebeen assigned “The Prologue”to read as homework prior toclass. Depending upon yourclass needs, the activitiessuggested here could take twoto four class days. Additionally,the lesson that follows does notcover in detail all thecharacters. Instead, to curtailthe length of the lesson,attention has been paid to someof the more prominentcharacters. Of course, studyingthe remaining characters can bevery fruitful if you choose to do so.Ask students what they do topass the time on extended roadtrips with their families. Allowtime for several responses.Chaucer immerses his readersinto the society of the MiddleAges through a frame tale. Ask astudent to give the definition offrame tale, and then furnishstudents with an example ofone, such as Mary Shelley’sFrankenstein. At the beginningof that novel, VictorFrankenstein is rescued by agroup of explorers. They findhim alone and almost frozen todeath but determined tocontinue his quest. He tells hisrescuers the back story of hisobsessive work on a seedyscience project and how theconsequences brought him tothe present situation. Thisbackstory forms most of the

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Reading question 108D. He laterpoints out that Chanticleer waswarned in his dream but listenedto his wife’s ill advice instead. Ask Was not listening to his dream thecause of his fall as the Priestseems to claim at one point, orwas it something more serious? (Chanticleer falls because of hissinful pride.) Use the sectionsdeveloping During Readingquestion 111C to evaluate thePriest’s claims about women. Makesure to point out that the Priest’saccount is reflecting an unbiblicalview. It is sinful Adam who blameshis wife for the Fall, but the Bibleitself places the blame on Adamand Eve. Both had to bear theconsequences of their sin.The priest inserts a sidecommentary in lines 143–61 on atheological matter: thesovereignty of God versus the freewill of man. It is interesting to notethat theologians still struggle withthe implications of these doctrinestoday. However, in the Priest’scase, the inclusion of such aserious matter applied to arooster’s life certainly adds to thehumor of the story by contrast.Ecclesiasticus is an Apocryphalbook that also goes by the nameof “The Wisdom of Jesus Son ofSirach” or simply “Sirach.” At thetime that Chaucer wrote, therewas debate in the medieval churchabout whether the Apocryphalbooks should be part of the canonor not. That was not settled for theRoman Catholic Church until afterthe Reformation at the Council ofTrent. The name Jesus in the tit ledoes not reference Christ. Jesuswas simply the Greek version ofthe Jewish name Joshua.

novel.Summarize with students thenature and purpose of Chaucer’swork using the followingquestions.To aid your students in properlyinterpreting “The Prologue,”remind them that Chaucer’sevaluations may not alwaysmatch modern judgments. Forexample, in Chaucer’s eyes, theknight is a model citizen.Today’s readers, however, mightobject to some of his values andactions (e.g., fighting in theCrusades). It is vital that readersbe able to read a text within itshistorical and social context.Only then can they understandwhat the author meant to say.Once that message isunderstood, readers should ofcourse judge it based on theirown value system—in aChristian’s case, from a biblicalworldview. Perhaps share anexample toillustrate the importance ofapplying historical and socialcontext. As students examinethe characters of TheCanterbury Tales, encouragethem to think like Chaucer.What descriptive details does heinclude and why? Rememberthat these characters aresupposed to be, to a certainextent, stereotypical of peopleand institutions in his society.Ask students to make a list ofthe locations in lines 51–67.Display a map of theMediterranean region (seeTeacherToolsOnline.com for alink) and plot the locationsaccording to the glosses(perhaps allow students to lookthese up online). Directstudents’ attention to thedistances between theselocations and then ask theDuring Reading question.Instruct students to read thedescription of the Knight, findingany evidences of heroic orchivalric virtues.Understanding Chaucer’s pointalso depends on understanding

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his tone, which he frequentlycommunicates through irony.Review the definitions of verbaland situational irony. Chaucerused plenty of verbal irony—inparticular understatement,hyperbole, and sarcasm. VisitTeacherToolsOnline.com forexamples of verbal andsituational irony that you maywant to share with yourstudents in preparation foranalyzing Chaucer’s examples.The link also includes a shortquiz over the types of verbalirony.Call on a student to share thedefinition of tone (p. 88).Mention the previous study ofThomas Malory’s Le Morted’Arthur. Point out that Le Morted’Arthur displays Malory’sadmiring tone toward Arthur andto the chivalric code he and hisknights stood for. It reflects thefact that Malory and the otherEnglish people of his dayyearned for leaders who couldrise above corruption andeffectively lead the country. Iftime permits, ask students toshare other examples ofauthorial tone that they haveencountered in literature andfilms.Divide students into pairs. Directstudents to return to the Unit 1introduction on pages 2–13 andreview the duties and roles ofknights. Then pairs should skimlines 42–100 (about the knightand the squire), filling out theKnight’s row in the chart.Direct students to consider whyChaucer might spend so muchtime discussing the Prioress’scleanliness. Point out that hermanners (as well as herlanguage, French) are those ofthe aristocracy. Combined withher name, “Lady Rosebud,”these factors make her seem abit over-fastidious, especially forsomeone whose vocation wassupposed to be caring for thepoor, sick, and downtrodden.The clergy often could enjoymore wealth than the common

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person and little secularinterference in their affairs, soperhaps she thinks of herselfmore highly than she should.Explain to students that incomparison to indirectcharacterization, directcharacterization is a little easierto understand. Read thefollowing quote from the book How to Train Your Dragon byCressida Cowell: “Hiccup was onthe small side and had the kindof face that was almost entirelyunmemorable. He DID haveHeroic Hair, which was a verybright red and stood upvertically however much youtried to wet it down withsea-water. But nobody ever sawthat because it was hiddenunder his helmet most of thetime” (New York: Little, Brownand Company, [2003], 14–15).Distribute the red and blueflags. Reread the passagesdescribing the Knight andSquire. Pause after instances ofindirect characterization andexplain how the instance fits thedefinition of the term. Then ask avolunteer to read thedescription of the Prioress (ll.120–64), directing the otherstudents to lift their red flagswhen they hear an instance ofdirect characterization or theirblue flags when they hear aninstance of indirectcharacterization.Direct student pairs to answerDuring Reading questions 92Aand 92B based on their own lookat the text. Perhaps get themstarted with the followingquestion. Ask Why doesChaucer extensively describethe Prioress’s manners? Dothese suit her role? (Consultsection 91D for ideas.) Directstudents to share their answersfor all these questions with theclass. Guide them to a correctunderstanding of the text’smeaning.Direct student pairs to analyzethe social context in whichChaucer places the next pilgrim,

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the Monk. Direct students toread lines 167–209 and to fillout the Monk’s row in theirTeaching Help. As a class, lead adiscussion of their answers,addressing During Readingquestion 93C as well.Chaucer is using the social andhistorical context of the HighMiddle Ages to satirize religiousprofessionals.Remind students of what amendicant order is, using section94A. Then direct student pairs toanalyze the description of theFriar. Use the directions for 94Band its associated sections.Remind students to look for bothsituational and verbal irony asthey read about the Friar. Useboth During Reading question93D and the More Discussionsection of 94B to identifyexamples of irony.Students should recognize theuniversality of human emotionsand themes that the bestauthors revisit in creative ways.Even if an author is removedfrom our era by several hundredyears, we can empathize withhim.Inform students that the nextmajor group of pilgrims—theDoctor, the Wife of Bath, theParson, and thePlowman—includes some thatallow Chaucer to highlight morepositive aspects of society andhuman nature. He will express avariety of tones as he presentsthe next set.Use the Jigsaw method to studythe next four characters (seeTeacherToolsOnline.com formore description). Within eachgroup, assign each student acharacter to study. All fourcharacters (the Doctor, the Wifeof Bath, the Parson, and thePlowman) should be representedin each group. Then sendstudents to meet with the othersin the class who have beenassigned the same character.Each of these new groups shouldstudy and describe theirassigned character in the text,

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fil l ing out the far right column ofTeaching Help 1.11 for theirpilgrim. After allowing time foranalysis, send students backto their original groups. Therethey should share with their oldgroups what they have learnedabout their assigned pilgrims.Move around the room tomonitor each group’s activitiesand discussion as needed.Once they have finished sharing,bring the class back together tosummarize what they havelearned. If students have notalready done so, ask them toanswer During Readingquestions 98A, 99C, and 100A.Use the follow-up sections todeepen their understanding ofwhat Chaucer is doing. You maywant to reference the TeachingHelp key as well to guide theactivity.Deepen students’ understandingof what Chaucer means to saywith the Parson’s character.Direct students to read thispassage about the Miller as wellas lines 580–99, the section onthe Manciple, by themselves.They should answer DuringReading question 101B. Remindthem to pay attention to theglosses related to the Manciple.As a class, discuss their answers,working to fil l out theappropriate sections in TeachingHelp 1.11. Also, use the MoreDiscussion question in 101B tocontrast the Miller with theParson and Plowman.Focus attention on DuringReading question 102A. Somestudents may not understandthe irony Chaucer is using in thissection. If they need furthersupport, review the structure ofthe feudal system of the MiddleAges.Read the last two paragraphs onpage 10 of the Unit 1introduction and the box (onpage 11) on John Wycliffe andLollardy. Draw students’attention to the sentence“Satires such as Chaucer’s Canterbury Tales reveal clerical

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corruption as anoften-stereotyped fact, astanding joke.” Ask students toanalyze Chaucer’s word choicesin order to determine authorialtone toward the Summoner.Pose the following question forstudents to ponder as you readthe passage on the Summoner:“If Chaucer is referencing a jokehere, is he laughing, or is this amore serious issue to him?”The character of the Wife of Bathand her tale are among themost culturally famous parts ofChaucer’s work today. Anunusual female character for thetime, she is good-humored,outspoken, independent,sensual, and rather bawdy inher story. Her character and taleare examples of how TheCanterbury Tales differed fromChaucer’s previous works. Heincluded a broader variety ofgenres, used a more realisticapproach, and aimed his work ata broader, less purelyaristocratic audience. Both theMiller’s tale and the Wife ofBath’s tale fall into genres thatwere considered lower andinclude crude language andcontent that were obviouslymeant to elicit laughter. Theymight have been frowned on ina more formal setting.Read lines 636–79 (the passageon the Summoner) aloud for thestudents, or ask each student toread a few lines of the passage.Divide students into two groups.The first group will answer thequestion “What is theSummoner’s relationship to theCatholic Church, canon law, andecclesiastical courts?” Thesecond group will answer thequestion “What is the historicaland social significance of theSummoner’s appearance?”Perhaps allow students to lookup information online about hisvocation and diseasedappearance. Ask groups toshare their answers with the class.Direct students to work in pairsto create a T-chart in their notes.

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On the left, they should recordthe actions of the Prioress, andon the right, the Pardoner’sactions. Drawing on their classnotes, students should alsocontrast the Prioress’s and thePardoner’s roles in the Churchas well as the results of howthey fulfilled their roles.Be careful not to unnecessarilyoffend students as you engagein discussion leading up to theirSatirical Character Sketchassignment. Many subjects areworthy of satire, but somesubjects may offend students inyour class. Take care to avoidpersonally endorsing satireabout matters that are notclearly right or wrong by abiblical worldview. Amatter-of-fact focus on themechanisms and themes ofvarious satirical examples andthe inclusion of examples fromboth sides of controversialissues are good ways to remaineven-handed.Remind students of the groupsand institutions that Chaucerridiculed in The CanterburyTales.Ask students to create a satiricalcharacter sketch (perhaps twoto three pages in length). Letthem know that one of yourgrading criteria will be that thissketch should poke fun atsomeone or something that thewhole class can laugh at. Thesketch should not ridiculeanyone personally connected tothe students or your school orhomeschool.Direct students to reread lines680–725. They should make alist of all the Pardoner’s faults.Identify which ones are directlystated and which ones areconveyed indirectly withdescriptions of his actions orattitudes.Note that mock epics can looselycritique the epic genre. Indeed,the following tale, rather thanreflecting every conventionalcharacteristic of epics orromances, humorously reflects

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only a few key characteristicsthat audiences wouldimmediately recognize. Forexample, the narrator’s elevatedlanguage and flowerydescriptions of his charactersand Chanticleer’s trial andvictory would immediately putaudiences in mind of an epic orromance.If you think your students willstruggle with the poem format,encourage them to read the taleas though written in paragraphstyle. They should allow thepunctuation to dictate voiceinflection and sentencecompletion. You might model forthem or let them listen to arecording while following thescript themselves. For difficultwording, talk through glossesand more difficult passages priorto reading. Additionally,struggling students may benefitfrom collaborating with a partnerrather than workingindependently before classdiscussion. This way they canclarify their understanding,come to the class discussionwith a clearer understanding,and likely be better prepared toparticipate in the discussion.This tale shines when readaloud. Perhaps read itinteractively (students and theteacher turns) in class to helpdramatize the humor.Distribute Teaching Help 1.12.Instruct students to review bycompleting the blanks for thelist of epic conventions based oncontent (see p. 16). Informstudents that this list is broadand encompasses multiplehistorical eras. “The Nun’sPriest’s Tale” more narrowlyfocuses on the hero (knight) ofthe medieval feudal system withwhom Chaucer and his audiencewere familiar.In the priest’s tale, Chauceringeniously overlaps two genres. Ask What are they? (beastfable, mock epic) Directstudents to complete thedefinitions for the two genres on

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the teaching help. Ask studentsto define mock. (to parody or tosatirize)Guide students to give theirinitial responses to Chaucer’sapproach to his tale.Summarize the story’s keyevents together. For example,note the importance andaccuracy of Chanticleer’s dream(see Reading Check 108B andBackground note 108C). If youhave not already done so,distribute Teaching Help 1.12,and direct students to fill outthe appropriate columns. Checktheir answers before moving on.Form student pairs and directthem to find story examples forthe four characteristics (setting,heroes, battle/journey, andcultural/social issues) and howthey are incorporated. Let pairsform combined groups andcompare answers. Instructstudents to use a different colorto write in answers that theylearn from their peers.Help them in formalizing theanswers. Use the materials forDuring Reading questions 107A,108A, and 114A to show howthe story’s characters andevents create a parody.Additionally, use the sections for109E and More Analysis section112C to examine the roleelevated language plays increating the feel of a mock epic.Students should record any newinformation on their copy ofTeaching Help 1.12.



Quarter 2

Unit 2 TheEnglishRenaissancePart 1RenaissanceHumanism

(updated 6/28/19)

Recognize historicallysignificant people,forces, and eventsframing the literature ofthe Renaissance.

1 .

Understand some broadconnections betweenthese and the era’sliterary trends and

2.

Unit 2Introduction:RenaissanceEnglandPart 1Introduction:RenaissanceHumanismSir Thomas More:

Teaching Help 2.1A recording ofRenaissanceinstrumental music (weblink)Portraits of the Tudorrulers (web link)Portraits of Henry VIII’swives (web link)

One purpose of Renaissancehumanism was to study man in hisenvironment, including hislanguage, literature, mathematics,historical record, and artwork.Since man is God’s highestcreation, an image-bearer of God,studying the humanities is anemphasis of Christian education

Assigning your students togroups of four at the beginningof this lesson is recommended.The lesson switches back andforth between class discussionand collaboration.Show a brief video about thewives of Henry VIII (seeTeacherToolsOnline.com for a

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themes.Define and identify thecharacteristics ofRenaissance humanism.

3 .

Define rhetoricalappeals, figurativelanguage, rhetoricaldevices, and allusion.

4 .

Identify thecharacteristics of utopianliterature.

5 .

Infer authorial tone todetermine meaning in atext .

6 .

Analyze how satiresupports an author’ssocial critique.

7 .

Evaluate the author’sview of human natureand society in light of abiblical worldview.

8 .

Identify characteristics ofliterary criticism in anessay.

9 .

Analyze a work’s use ofparallelism, analogy, andrhetorical appeals todevelop its message.

10.

Evaluate an author’smessage from a biblicalworldview.

11.

Create a piece of literarycriticism that presentsbiblically foundedstandards of literaryexcellence and appliesthose criteria to aliterary selection.

12.

Summarize an author’sline of reasoning.

13.

Apply knowledge ofhistorical context tounderstand a text’smessage.

14.

Analyze an author’smain premise,supporting reasons, andconclusion.

15.

Evaluate Renaissanceviews on women from abiblical worldview.

16.

Outline the mainarguments of an essay.

17.

Identify examples ofinductive and deductivereasoning.

18.

Determine an essay’smain ideas.

19.

from UtopiaSir Philip Sidney:from An Apologyfor PoetryAmelia Lanier:“Eve’s Apology inDefense ofWomen” from Salve Deus RexJudaeorumSir Francis Bacon:from EssaysMargaretCavendish: fromthe Preface to Observations UponExperimentalPhilosophy , “AWorld Made byAtomes”

Portraits of the Stuartrulers (web link)Teaching Help 2.2Woodcut map (web link)Teaching Help 2.3Parallelism practice (weblink)Recording of “Eve’sApology in Defense ofWomen” (audio)Teaching Helps 2.4 and2.5Teaching Helps 2.6 and2.7Other atomic poems byCavendish (web link)“I Have a Dream”speech (web link)

(Handbook of Christian Education,Ronald A. Horton, ed. [Greenville,SC: JourneyForth Books(journeyforth.com), a division ofBJU Press, 2017], 11).Ask From a biblical perspectivehow realistic is the behavior of theUtopians so far? (Because humanshave a fallen human nature, suchbehavior is unrealistic; it isunattainable. The lack ofmaterialism in Utopians seemsespecially unlikely. EvenChristians, who are redeemed,battle with a sin nature.) Ask What might More be implying isthe incorrect assumption thatcauses people to believe thissociety might work? (They thinkreason can fully dictate humanbehavior in positive ways. But theBible doesn’t make reasonsupreme. Reason is important, butthe Bible would indicate thathaving right affections is just asimportant. Fallen humans,however, fail at both. Both rightaffections and right reason areneeded. Thankfully, people ineternity will not be selfish andgreedy, because they love oneanother.)Does the Bible concur with thestance that More suggests? (Yes, itdoes concur concerning greed andvaluing possessions such as goldand silver. Ps. 62:10, Prov. 28:25,and Heb. 13:5–6 command againstsetting one’s heart on riches,against the pride that caused theambassadors to strut their wealth,and against covetousness. Mostassuredly, it is biblical toproselytize in a gracious way,trying not to offend but topersuade.)Divide the students into groupsand give them each a sheet withthese instructions: As a member ofan imaginary town council, you areassigned to one of the committeeslisted below. Each committee willexamine a certain aspect of life inMore’s Utopia and prepare an oralreport that the committeechairman will present at the townmeeting on (date). This reportshould embody a brief description

link). While the Tudors werememorable and capable rulers,their personal lives were oftendisastrous and adverselyaffected political affairs.The Tudor court was the centerof English life during this era. Butit was also a hotbed of politicalintrigue. For instance, peoplesometimes jockeyed for positionby earning the monarch’s favor.But political scheming or evenjust a monarch’s jealous naturecould swing people or cliques inand out of favor quickly. ManyEnglish Renaissance writers tookpart in court affairs. Directinterested students to researchsome of the authors in this unitwho interacted with the court.The students should investigatehow court events and politicsinfluenced the author’s writingcareer for good or for ill.Remind students of the keydifference between medievaltimes and the Renaissance: theshift in scholarly focus ontheology to a wider focus onman and his environment(natural or manmade). Note theparticular characteristics of theEnglish Renaissance. It tendedto emphasize learning morethan art and to be located in theupper class, especially the Tudorcourt. Nonetheless, its emphasison educated leadership led tomore widespread education anda rise in printed materials.Start a discussion with studentsabout different aspects of theReformation. Ask What wordsdo you associate with theProtestant Reformation?Inform students that in Part 2 ofthe unit, they will be readingtexts that reveal theReformation’s influence on theEnglish sense of nationalidentity. The Book of CommonPrayer and John Foxe’s The Actsand Monuments of the EnglishMartyrs showed the unifyingceremony and strong fervor thatEnglish Protestantism came toexert. Edmund Spenser’s TheFaerie Queene uses allegory to

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Analyze a text’s use ofrhetorical devices tosupport its message.

20.

Evaluate an author’shopes for knowledgeagainst a biblicalworldview.

21.

Determine an essay’smain ideas.

22.

Analyze a work forinductive and deductivereasoning.

23.

Analyze a text’s use ofrhetorical devices tosupport its message.

24.

Evaluate an author’sstyle criteria and hopesforknowledge.

25.

of the particular aspect of Utopianlife studied as well as thecommittee’s evaluation of thedesirability of such apractice. Submitting arecommendation, the chairpersonmay open the floor to discussionfrom the council as a whole, atwhich time the members of thecommittee may be questionedindividually concerning theirobservations on Utopia or theirrecommendations for action.Finally, the committee’s proposalswill be put to a vote by the towncouncil.To determine the extent to whichLanier’s arguments are validbased on the Bible and otherhistorical evidence, read aloudGenesis 3. Ask How does Lanier’saccount of the Fall compare to orcontrast with Scripture’s? (Seeanswers for Think and Discussquestions 3–6.)Lanier reaches a right conclusionlogically, but not all her reasoningreflects a biblical worldview. Forinstance, the Bible says that Adambore the greater blame for adifferent reason (1 Cor. 15:21–22).On the other hand, the Bible doesprohibit men from degradingwomen (cf. Eph. 3:7; 5:25, 28–29,33) and grounds the equality ofwomen in the image of God (Gen.1:27). As image-bearers, womenalso have God-given gifts todevelop and use. Lanier is,however, incorrect in minimizingEve’s sin through her speculationon Eve’s motives. And if her denialof male authority extends to thatbetween husband and wife or tomale leadership in the church (herintentions in this sense areunclear), then she would beincorrect, according to thefollowing references: Romans5:12, 1 Corinthians 15:21–22,Ephesians 5:23, and 1 Timothy2:12–13.Direct students to examineBacon’s arguments and answerDuring Reading question 150A.Lead a discussion based on theMore Discussion section there.Reference the answers for Think

infuse Protestantism intoEngland’s history andmythology. Finally, Elizabeth I’sfamous Tilbury speech revealshow tightly woven Protestantismand English identity became.Inform students that they will bereading Queen Elizabeth’sfamous Tilbury speech. Given onthe eve of the Armada battle, itreinforces Elizabeth’s humanisteducation and canny leadershipas well as a strong sense ofEngland’s independent natureand Protestant identity.For interested students,recommend a research projectinvestigating an avenue ofscientific or technologicalprogress in RenaissanceEngland. Topics could rangefrom the progression ofmathematics to the inventionand development of themicroscope (discussed in one ofCavendish’s works) or telescopeto advances in engineering,cartography, or architecture.Students could write a report orprepare a presentation for thewhole class.Mention to students that theywill be studying Francis Baconlater in the unit. Both a literaryand a scientific figure ofimportance, Bacon wasunusually influential in thehistorical development of themodern scientific method.Additionally, students will studysome selections from MargaretCavendish, one of the firstwomen in England to publiclyand successfully engage inscientific and philosophicalinquiry.These final decades of theRenaissance in England sawsome changes in literature toaccompany the changes in thepolitical arena. As students willfind, poets such as John Donneand George Herbert began toform a different kind of poetry,in part reacting to Tudor courtworks. In addition, as theRenaissance flowered further,scholarly prose such as in

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and Discuss questions 8 and 9 formore details. Additionally, guidestudents to consider how Bacon’sessays fulfill the goals of Truth,Goodness, and Beauty. ReferenceThink and Discuss question 10 foranswers. Ask Is Bacon’s belief inthe power of knowledge biblicallysound? (Bacon’s belief in thepower of knowledge is notbiblically sound. Human knowledgeis l imited and “darkened” whenthe human heart is hard.Additionally, God never intendedfor people to prove His existenceapart from special revelation inScripture, so reason should notsupplant revelation. When peopleelevate reason, they usually haveremoved the Bible from the placeof ultimate authority that God hasgiven it.)

Bacon’s and Cavendish’s worksgained greater prominence.Note that the students will readseveral translations of TheBeatitudes (pp. 166–67),pointing out the changes fromthe Wycliffe Bible of 1388 to theAuthorized Version of 1611. Indoing so, students will see amarked difference from MiddleEnglish to Early Modern English.Observe that the great strengthof a writing style is its use ofsimple language and sentencestructure with exactness andvigor. Students, while expandingtheir vocabularies andincreasing their mastery ofcomplex sentence structure,should avoid affectation andfancy embellishment. Unusualvocabulary and complexsentence structures aresometimes desirable and evennecessary, but they should notbe routinely preferred. Theborrowing or coining of wordsshould be indulged sparingly—only when necessary. If onewrites to impress rather than toexpress, he will do neither; ifone writes to express ratherthan impress, he will do both.Ask Why do the works from thisperiod often contain allusionsthat are difficult for studentstoday?Consider naming theGreek/Roman gods to see whichones students can identify.Pictures are readily available onthe Internet. Be sure to makethe point at the end thateducated readers in an earlierera simply knew these gods andgoddesses. They did not needglosses to understand. Worksreplete with these allusions andothers are, however, moredifficult for students today.When assigning Tudor prose,point out that written prose wasmuch less structured than it hasbecome since then and wasmore like the flexible flow ofspeech. Punctuation is oftenrhetorical rather thangrammatical and logical—that is,

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it is a guide for pauses andpacing in oral delivery ratherthan a means of clarifyingsentence structure.Lead students through More’searly setting up of his satire.Display for students thewoodcut map of Utopia that wasincluded in the work’s firstedition (seeTeacherToolsOnline.com for alink.) Reread the passage onpages 132–33 with students andnote how the map matches thetext .Divide students into pairs.Instruct them to read the firsttwo sections on page 134together and try to answer thetwo During Reading questions.They should also fill in the chart(Teaching Help 2.2) with anysubjects they think are relevant.Tell students to work again inpairs. Instruct them to read thesection “Their Occupations” (pp.134–35). They should answerDuring Reading question 135C.As a class, summarize anddiscuss More’s ideas so far.Consider the ideas he may bepromoting, even if he does notbelieve they are fully attainable.Divide students into their pairsagain and direct them to readtogether “The Religions of theUtopians.” They should answerDuring Reading question 139Bas well.Summarize together the Utopianapproach to religion. Explain tostudents that their eagerembracing of Christianity reflectsMore’s humanist conviction ofthe compatibility of reason andrevelation. Inform students thatreligious toleration was radicallyinnovative in More’s time andprobably seemed a fanciful andpreposterous notion tointellectuals. More, however,may have been serious when hewrote Utopia. Notice that thedecree permitted religiousliberty to the point at which theright to believe a thing and toexpress it and persuade othersto accept it is limited by the

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right of others to reject it. Thisconcept of individual liberty thatis not absolute but limited byand conditioned on respect forthe rights of others is a basicprinciple of moderndemocracies. Supreme CourtChief Justice Oliver WendellHolmes once remarked that civilfreedom does not confer theright to shout “fire” in a crowdedtheater.Review the definition of analogy.Remind students that Sidney’seffective deployment ofrhetorical devices is one way inwhich he successfully makes hiscase.Illustrate analogy with anexample, perhaps this quotationfrom Act V of Shakespeare’s Macbeth: “Life’s but a walkingshadow, a poor player / Thatstruts and frets his hour uponthe stage / And then is heard nomore. It is a tale / Told by anidiot, full of sound and fury, /Signifying nothing.”(Shakespeare compares life to ashadow, to an actor, or to a taletold by someone whose speechis incoherent.)Choose a volunteer or two toread the second paragraph ofthe excerpt. Divide students intogroups and direct them toanswer During Reading question141B. Ask students to work ingroups to find the detailedcomparisons of one thing toother dissimilar things in thesecond paragraph.To aid student comprehension,read the poem aloud. Remindstudents that the speakers are agroup of women talking toChrist’s persecutors before hiscondemnation.Tricolon may be difficult forstudents to understand. Use thefollowing examples as models.Point out the famous example ofa tricolon from the Declarationof Independence: “We holdthese truths to be self-evident,that all men are created equal,that they are endowed by theirCreator with certain unalienable

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Rights, that among these areLife, Liberty and the pursuit ofHappiness.” Note the parallelphrases beginning with tha t.Display the Gettysburg Addressfor students. See whether theycan find the following famousexamples of tricolon.Divide students into groups ofthree. Instruct them to rereadthe first paragraph. They shouldanswer Reading Check question148B.Instruct your groups to readparagraph 2 and answerReading Check question 148C.Additionally, direct them toanswer the following question. Ask What does Bacon believe tobe the purpose of reading? (Thepurpose of reading is to weighand consider.)Discuss their answers as a class,guiding them to a correctunderstanding. Address theMore Discussion section of 148Cas well.Direct students to answer DuringReading question 148D in theirgroups. Additionally, distributeTeaching Help 2.4 and directgroups to find other examples oftricolon to fill out the chart. Formore examples, reference theanswer to Think and Discussquestion 3 as well as thehighlighting for More Analysissection 148A. Bring studentstogether to share their finds.Guide them to correct answers.Direct students to work in theirgroups to read the rest of theessay and outline Bacon’ssupporting specifics.Instruct students to work ingroups to create examples oftricolon and aphorism. Assigneach group a topic—food,recreation, vacation, vocation, orany other appropriate topic. Seta timer and make it a game.Someone from each groupshould read the examples at theend of the allotted time, andeach group should vote on thebest example. Reward thewinning team in some way, andpost the best examples in the

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classroom.Remind students of the socialcontext Cavendish had tonavigate. Women were generallyconsidered unfit to participate inpublic intellectual discourse.Instruct students to reread thefirst paragraph, considering howthis attitude affects whatCavendish chooses to say.If you wish, use Teaching Help2.6 to introduce students to theargumentation terms claim, counterclaim, proof, and conclusion. Direct students toapply these concepts to thecontent of discussion theyremember having had with aparent, friend, or teacher (keeptopics kind and appropriate).Direct students to find a partnerto work with. Instruct studentsto answer During Readingquestion 152A with theirpartners. Use the Close Readinginstructions attached.Direct pairs to observeCavendish’s writing style andanswer the following question. Ask How might you describe herstyle?Read Cavendish’s poem aloud tostudents, using your delivery tohelp clarify the sentences. Thenask students to paraphrase thepoem together.

Unit 2 TheEnglishRenaissancePart 2Reformationand NationalIdentity

(updated 6/28/19)

Identify and analyze theeffect of two interwovenmovements thatinfluenced England’schanging identity.

1 .

Understand the ways inwhich Tudor ruledeveloped andstrengthened Englishidentity.

2 .

Understand thesignificance of The Bookof Common Prayer tothe English ProtestantReformation and toBritish culture.

3 .

Recognize the beauty ofa text’s language.

4 .

Evaluate a text’s ideas.5 .Identify characteristics ofhistorical narrative in a

6 .

Part 2Introduction:Reformation andNational IdentityLonger Works ofLiterature

From The Bookof CommonPrayerJohn Foxe:from Foxe’sBook of MartyrsThe EnglishBible: Matthew5:1–12, 1Corinthians13:1–13EdmundSpenser: from The FaerieQueene

Teaching Helps 2.8 and2.9Photos of the story’ssettings (web links)Teaching Help 2.10In ShakespeareInfographic (web link)Of St. George (web link)Of Elizabeth I (web link)KWL Chart handout (seeTeacherToolsOnline.comfor information on KWLcharts)Drawing materials andposter paper for studentsDepicting the Armada inthe English Channel(web link)Manuscript copy ofQueen Elizabeth’s“Speech to the Troops of

The Book of Common Prayer hasenriched our cultural heritage inways we can scarcely appreciate.When we use the phrases“through fire and water,” an“outward and visible” sign of an“inward and spiritual” work ofgrace, “earth to earth, ashes toashes, dust to dust,” and “whomtruly to know is everlasting life,”we are echoing the Prayer Book.Some of these actually echopassages of Scripture as well. Infact, Scripture permeates theliturgy, as you will see in theexcerpt from the marriage ceremony.One vestige of the Prayer Book’sinfluence today is its influence onmarriage services. Read aloud thepassages from the marriageceremony excerpted here. Ask

To help students understand thetremendous political effects ofthe Reformation in Europe, leada research session. Dividestudents into groups, and assigneach group one or two of thefollowing countries. Directgroups to briefly research thecourse of the Reformation intheir assigned countries. Eachgroup should elect arepresentative to deliver theirresults to the class. Lead a discussion about howthe Reformation sometimesintertwined with an increase innationalism.Remind students that historicalnarratives take place in aparticular time and place withreal people and actual events.

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historical narrative in atext .Infer meaning from atext .

7 .

Analyze how an author’stone, purpose, and biasinteract in a text.

8 .

Evaluate the worldviewunderlying an author’sinterpretation of historicevents.

9 .

Identify instances ofparallelism, anaphora,and paradox in a text.

10.

Trace a text’sprogression of thought.

11.

Compare and contrasttranslations to observelinguistic changes.

12.

Analyze a text’sstructure and use ofrhetorical devices tocommunicate a theme.

13.

Compose a briefpersonal essay.

14.

Identify features ofliterary epic (e.g.,catalog, epic simile),romance, and allegory ina text.

15.

Infer meaning fromtextual details in orderto interpret a text’sthemes.

16.

Analyze a work’sallegorical messages.

17.

Evaluate a work’spurpose and methodsfrom a biblicalperspective.

18.

Read the speech aloudwith attention to textfeatures, rhythm, pacing,and emphasis.

19.

Analyze the speech forits persuasive appealsand rhetorical devices.

20.

Compose a letter fromthe perspective of one ofElizabeth’s soldiers.

21.

QueeneQueen Elizabeth I:"Speech to theTroops at Tilbury"Unit 2 Parts 1 and2 Test ReviewUnit 2 Parts 1 and2 Test

“Speech to the Troops ofTilbury” (web link)Portrait (web link)

ceremony excerpted here. Askstudents to point out sections thatare familiar to them.In society today, marriage vowsare taken—and broken—withalarming casualness. Ask Whatbiblical concepts are present inthe excerpt from The Book ofCommon Prayer ? (The inviolabilityof the marriage contract, themutual submission [unselfishness]but also hierarchy [subordination]of the marriage relationship, andthe paradox of liberty andfreedom.) Ask How can Christiansmaintain a biblical perspective onmarriage? (Answers will vary. Usesensitivity. Be aware of brokenhomes and divorced parentsrepresented in the classroom evenas you guide students to maintaina biblical perspective on marriage.)Point out that this discussionhighlights the importance ofhaving the right worldview—theone that aligns with the way Godhas revealed the world to be. It isessential to properly evaluatingthe events of history (or at least asbest as faulty humans can).Most historians agree that Foxemade a concerted effort to beobjective (see his reference toeyewitness accounts again atDuring Reading question 161A).Other proofs of his objectivityinclude the fact that he wouldoften give alternat iveexplanations and even return topreviously written editions tomake corrections.Make the point that Foxe’s effortto be objective reflects his desireto be truthful as the Scripturesinstruct (Prov. 11:3, Ps. 51:6). Tellstudents that whatever they write,especially when researching,should be objective—factual andprovable.Ask How does Spenser’s processfor moral growth, as outlined inBook I, align with Scripture’sprocess? (Encourage students touse textual details in theirresponses.) (Answers will vary.Students may indicate Red CrossKnight’s armor [redemption is thefirst step in moral growth] and his

real people and actual events.The first scene of the ThomasCranmer story took place in St.Mary’s Church in Oxford,England; the second in St. Giles,a broad boulevard leading outfrom the center of Oxford.Use During Reading question163C to show how Foxedelineates his purpose forrecounting the Cranmeraccount. (Foxe wanted to fortifythe true church.)Distribute Teaching Help 2.9 tostudent pairs. Read theinstructions aloud and model theprocess of inferring authorialtone using question 161B.Instruct pairs to carefully rereadthe account, identifying Foxe’stone toward the varioussituations and characters. Todetermine how he feels aboutthem, look especially at his wordchoices and the facts he choseto share. Use During Readingquestion 163B as anotherexample. Instruct students tocomplete the organizer.To help the students comparethe Beatitude texts, ask them tocreate a four-column chart, withthe comparison version’s nameheading each column. Thestudents should note thedistinguishing characteristics ofeach edition of the Bible in theappropriate columns as theyaddress the During Readingquestions and their attachedsections. For instance, studentsmight describe word order,grammar, usage, spelling, andstructural features. Guide thestudents in answering theapplicable During and AfterReading questions (166B, 166C,and 167D, Think and Discuss 1).Divide students into groups ofthree. Direct them to examineboth passages for rhetoricaldevices and paradox. First, helpthem analyze for rhetoricaldevices using During Readingquestions 166A and 167F.Second, direct them throughDuring Reading questions 167Gand 168A using the close

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devotion to Una, who symbolizesTruth or true faith.) ReferenceJohn 15:4–5 and 10, whichcommands Christians to abide inChrist and hold fast to Truth. Referstudents to Think and Discussquestion 10 during this discussion.Point out to students that theScriptures speak about the powerof the tongue: it can build up ortear down. In Elizabeth’s speech,the rhetorical devices being usedto evoke pathos are examples ofbeauty. This kind of persuasivebeauty should be used to evokepathos only for that which is trueand good. Often, however,rhetorical skill (beauty) is used toevoke pathos for that which isfalse and bad. Take theopportunity to challenge studentsto be discerning when their heartstrings are being affected for thatwhich is false or bad.

reading scaffolding provided asneeded. Review their answersas a class. Direct them to findadditional examplesindependently (see Think andDiscuss questions 2, 5, and 7).To help students recognize thetheme of each passage, guidethem in a discussion of DuringReading question 168B andThink and Discuss questions 3and 4. The students shouldsummarize the main idea ofeach text.To prepare the students to writethe Create essay, ask them toanswer Think and Discussquestion 6. Ask the students tothink of specific people that theyhave observed demonstratingspecific characteristics of lovereferenced in 1 Corinthians 13(e.g., neighbor exhibitingkindness) as well as the effectsof acts of love (e.g.,reciprocation). Direct studentsto use the collaborative notes tocreate a response to 1Corinthans 13 (see Think andDiscuss question 9). Explainyour assessment plans. Writingand Grammar 12 (pp. 19–20)provides essay guidelines. Tooffer a public speaking as wellas a publishing opportunity iftime permits, ask severalvolunteers to share their essayswith the class.In order to boost students’confidence and enable them tounderstand allegorical levels of The Faerie Queene, direct themto complete a KWL chart in orderto think about what they alreadyknow about the ProtestantReformation and The FaerieQueene and what they want toknow (or what they think theywill learn—predictions). Theymay refer to the Unit 2introduction, the Part 2introduction, and theintroduction on Spenser. Askstudents to share their first andsecond columns with the classand to check their predictionsafter the lesson.To help students understand

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how to draw inferences, directtheir attention to the first tenlines of the excerpt. Instructstudents to look for clues toSpenser’s implied levels ofmeaning. One way in which theycan draw inferences is byasking, “What biblical, l iterary,or historical figures does RedCross Knight remind me of?”They can also ask, “Who or whatis Red Cross Knightrepresenting?”Ask students to work in pairs todetermine whether Red CrossKnight is a war veteran or a newknight. Remind them to payattention to the glosses. Askthem to share theirtext-supported answers with theclass.To build students’ confidencewith drawing inferences and toenforce the idea that their ownresponses to literature do havemerit, ask them to read lines82–144 silently and then discussin pairs the descriptions andcharacteristics of Una, Red CrossKnight, and Error. They mighttackle topics such as why Unagives Red Cross Knight advice,why he responds the way hedoes, what they think about thedescription of Error and hercave, or why Error has so manychildren.Ask students to continueworking with a group or partneron lines 145–216. They shouldhave Teaching Help 2.10 handyso that they can continuemarking examples of allegory,romance, and epic. Ask studentsto pay attention to the ways inwhich the major charactersembody traits of the threegenres.Group students in threes. Askthem to reread lines 172–89, thepassage about Error vomiting.Ask students to sketch what thatwould have looked like and towrite several sentencesbeneath the drawing tohypothesize what Spenser’sallegorical message is in thatpassage. To help them with their

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hypotheses and with visualizingthe scene, refer students toDuring Reading questions 177B,177C, and 177D.Divide students into pairs andask them to mark passages inthe excerpt that, in theiropinions, most clearly indicateSpenser’s moral-educationpurpose and Sidney’s standardfor excellent literature.Divide students into threegroups, assigning each groupone of the three major figures inthe excerpt from Book I: RedCross Knight, Una, and Error.Distribute drawing materials.Tell students they will becreating an infographic on thecharacter assigned to theirgroup. The infographics shouldcontain (1) visuals, (2) physicaldescriptions of the characters,(3) mental/emotional/spiritualdescriptions, (4) allusionsSpenser is making with thatcharacter, (5) symbolismassociated with the character,(6) evidences of the genresSpenser employs, (7)explanations of how thecharacter teaches truth byexample or reflects Spenser’spurpose to fashion a gentleman,and (8) ways in which the workreflects Sidney’s argument thatliterature should teach bydelighting.Show students an originalmanuscript copy of QueenElizabeth I’s “Speech to theTroops at Tilbury” and a videoabout the speech (see link atTeacherToolsOnline. com).Perhaps also display Elizabeth’sfamous Armada portrait, createdto commemorate England’sdecisive victory. Note itsdepiction of the beleagueredSpanish fleet sailing throughstorms.Mention that the manuscriptwas preserved by Dr. LionelSharp (also spelled Leonel),chaplain to the Earl of Essex.Sharp claimed he was asked toredeliver the speech to all theassembled troops later.

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Instruct students to reread thespeech quietly to themselvesand answer During Readingquestions 180A and 180B. Aftera reasonable amount of time,review their answers as a class.To assess students’ ability,direct them to find additionalexamples of such appeals anddevices for class sharing. Usethe answers for Think andDiscuss questions 1 and 2 toreference possible answers.

Unit 2 TheEnglishRenaissancePart 3 LyricandMetaphysicalPoetry

(updated 6/28/19)

Describe poetic formscharacteristic of theRenaissance.

1 .

Explain the impact ofcultural forces onRenaissance poetry.

2 .

Describe the features ofthe Italian and Englishsonnet forms.

3 .

Paraphrase lines ofpoetry to clarify theirsyntax and sense.

4 .

Trace a poem’s structureand progression ofthought.

5 .

Analyze a poem’s use ofstructure, form, imagery,and figurative languageto convey its theme.

6 .

Compare and contrastpoems’ use of form anddevelopment of theme.

7 .

Evaluate a poem’s viewof love against a biblicalview of love.

8 .

Identify pastoralcharacteristics in a text.

9 .

Analyze a poem’s use ofimagery and sounddevices to support itstheme.

10.

Compare and contrastthe themes of two texts.

11.

Evaluate the theme ofcarpe diem in light ofbiblical truth.

12.

Define characteristics ofmetaphysical poetry.

13.

Paraphrase lines ofpoetry to clarify theirsyntax and sense.

14.

Trace a poem’sprogression of thought.

15.

Analyze a metaphysical16.

Part 3Introduction: Lyricand MetaphysicalPoetrySonnets andSonneteers

Sir ThomasWyatt :“Farewell,Love, and allthy lawsforever”Sir PhilipSidney: Sonnet31 and Sonnet41 from Astrophil andStellaEdmundSpenser:Sonnet 68 andSonnet 75from Amorett i WilliamShakespeare:Sonnet 73,Sonnet 116,Sonnet 130

ChristopherMarlowe: “ThePassionateShepherd to HisLove”Sir Walter Raleigh:“The Nymph’sReply to theShepherd”John Donne:“Song,” “AValedictionForbiddingMourning,” “HolySonnet 14”George Herbert:

Of the sonnet text (weblink)Of the sonnet set tomusic (audio web link)Of pastoral art (web link)Teaching Helps 2.11 and2.12Teaching Help 2.13Depictions of pastoralscenes (web link)Interpretation of thesonnets (audio web link)Copies of the poems forstudents to annotatePoetry (video web link)Of “Song” and “AValediction ForbiddingMourning” (audio weblinks)Reading of “Jordan (2)”(audio web link)Commentary on “ThePulley” (web link)Two highlighters(different colors) perstudentOf the poems forstudents to annotateTeaching Helps 2.14 and2.15Recordings of thelesson’s poems (audioweb links)

Instruct the students to read aloudthe Scripture passages referencedin the Evaluate paragraph (p. 185).Direct the students to notecharacteristics of love as they read.Instruct students to consider thecarpe diem theme. Allot class timefor them to look up James 4:14;Luke 12:16–34; 1 Corinthians15:32; and Ecclesiastes 2:10–11,16–17, 24–26; 3:12–13. Pose Thinkand Discuss question 7 and lead adiscussion based on the answerprovided.Donne displays intense feeling ashe writes about his relationshipwith God. Ask students what God’sWord says about how we shoulduse our feelings. God created ourfeelings in order that we mightbring Him glory with them. AfterAnne Donne died, Donneexperienced depression andargued, at an especially weakpoint, that suicide, under certainconditions, was acceptable. But heused that dark period to pursueGod. We need to view our humanweakness as a reason to cling toGod. He understands ourweakness, but His love is pursuingus even when we are inconstant.What must the speaker do in orderto eat at Love’s table? (All he hasto do is sit and eat; there isnothing he can do to deserveeating there.) Herbert iscommunicating the beautifulbiblical truth that God loved usfirst and that God is calling all toHis banquet table. Ask Whatallusion to two key New Testamentwomen can you find in the lastthree lines? (Herbert encapsulates

To demonstrate a sonnet’smusicality, play John Rutter’schoral interpretation of “Shall Icompare thee to a summer’sday?” Display the poem’s text atthe same time for students tofollow (seeTeacherToolsOnline.com forlinks to both).Guide students to understandthat the rise in literacy andaccess to written or printedmaterials changed poetry. Asillustrated in the followingselections, oral poetry continuedto fall out of use. Meter largelyreplaced the alliterative stressesof works like Beowulf, rhyme(difficult to sustain orally) cameto be expected in poetry, andlyric poetry overtook narrativeas the major genre. While poetsmaintained an elevated style,they began to drop featuressuch as stock epithets that hadworked well for oral delivery ofnarrative poems. Variationremained, but it tended to bemore subtly done than in oralpoetry.Direct the students to work ingroups to identify some of themajor influential forces onRenaissance poetry discussed inthe text. Describe how theseaffected the genre. Use AssessStudent Understandingquestions 1–4 as a guide.To help the students identify aline of iambic pentameter,display the opening line ofSidney’s Sonnet 31. Ask for avolunteer to read it aloud. Directthe students to identify and

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Analyze a metaphysicalpoem’s use of conceit,paradox, and pun.

16.

Analyze a poem’s use ofsound devices.

17.

Evaluate the theme ofman’s constancy in lightof God’s constancy.

18.

Trace a poem’sprogression of thought.

19.

Infer a poem’s meaningfrom textual details.

20.

Interpret a poem’sfigurative language(conceit, metaphor,simile, personification,apostrophe) tounderstand theme.

21.

Compose a poem basedon a textual model.

22.

Recognizecharacteristics of anepigram.

23.

Infer a work’s themefrom its details.

24.

Analyze a poet’s stylisticchoices.

25.

Compare two writers’approaches to stylebased on their texts.

26.

George Herbert:“Jordan (2),” “Love(3),” “The Pulley”Ben Jonson: “Songto Celia,” “Still tobe neat,” “On MyFirst Son"Unit 2 Part 3 TestReviewUnit 2 Part 3 Test

three lines? (Herbert encapsulatesthe responses of Mary and Marthato the Lord [Luke 10:38– 42]. Bothare legitimate responses, butreceiving God’s love and stayingclose to His presence are oftenmore important than physicalservice.)Christians throughout the ageshave shared Herbert’s view thatlack of peace prods us toward God.St. Augustine said in his Confessions, “Because you madeus for yourself . . . our hearts findno peace until they rest in you.”Perhaps Augustine was thinking ofMatthew 11:28–30: “Come untome, all ye that labour and areheavy laden, and I will give yourest. Take my yoke upon you, andlearn of me; for I am meek andlowly in heart: and ye shall findrest unto your souls. For my yokeis easy, and my burden is light.” Inaddition, the theme of “ThePulley” is strongly represented inEcclesiastes. Life apart from God isunsatisfying, which by the end ofthe book leads one to theconclusion that fearing God has tobe the central concern of life.If time allows, discuss thefollowing biblical truths withstudents. It is true that beauty isoften subjective. However, theBible indicates that God viewssome things as beautiful and otherthings as not (Isa. 62:1–2, Jer.11:16). Also, the study of literatureitself reveals (1) that some writingis more beautiful than otherwriting and (2) that often a tastefor what is beautiful needs to bedeveloped. These ideas pointaway from an entirely subjectiveunderstanding of beauty. The“eye of the beholder” must seethe world through the lens ofGod’s truth; beauty ought toreflect something of God’s nature,not those things that are contraryto His ways (Rom. 11:36).

the students to identify andmark the stresses. Ask a studentto count the number of stresses.Guide students throughidentifying Italian and Englishsonnet structures using Wyatt’ssonnet and Shakespeare’sSonnet 73 respectively.Distribute Teaching Help 2.11 asa guide. Following the handout’sfirst section, they shouldtogether identify each poem aseither Italian or English, basedon the appropriate criteria.Divide students into four groups.Assign to each group one ofthese pairs of sonnets: Sidney’sSonnets 31 and 41;Shakespeare’s Sonnets 116 and130. First, ask students toidentify each poem’s type basedon its rhyme scheme, followingthe directions on Teaching Help2.11. Ask students to indicatewhich lines were written iniambic pentameter. Review thestudents’ answers as a classusing During Reading questions187A and 191D, the Summary ofAnalysis section for each sonnet,and any relevant information.Examine some exceptions tothese rules. Direct groups tolabel the rhyme scheme forSpenser’s Sonnets 68 and 75and to assign a sonnet type toeach.Illustrate paraphrasing forstudents by paraphrasingWyatt’s sonnet together.Divide students into groupsbased on the number of sonnetsyou have chosen to study indepth. Assign each group one ofthe sonnets you have chosen.Direct them to paraphrase theirsonnet using the paraphrasingsection in Teaching Help 2.11.Check their work as they go.During Reading questions 188B,188C, and 189D can helpscaffold students working ontheir associated sonnet. Usetheir answers to help checkstudents’ work on these.Use Wyatt’s sonnet as a modelfor examining the connectionsbetween a sonnet’s structure

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and meaning. As a class, use thefinal sections of Teaching Help2.11 to analyze how the poem’sstructure and progression ofthought intertwine.Instruct students to continuetheir group analysis of theirassigned sonnets. Ask them tocreate a T-chart comparingqualities of love found inScripture to the poet’sdescription of love. Ask studentsto evaluate these portrayals oflove according to a biblicalworldview. Use the answers forDuring Reading questions 189Eand 191B, as well as Think andDiscuss questions 2, 9, and 10,to guide the discussion.Direct groups to continue theanalysis of the sonnets theyhave already paraphrased. Theyshould use the final sections ofTeaching Help 2.11 to analyzethe poem’s structure,progression of thought,imagery, rhetorical devices, andoverall theme. Remind them tomake use of the glosses andDuring Reading questions intheir textbooks. Review theiranalyses using the Summary ofAnalysis sections for support aswell as the answers for anycoordinating During and AfterReading Questions that scaffoldthem to it. Present their findingsto the class.Instruct students to rejoin theiroriginal groups to furtheranalyze the poem to which theywere originally assigned and tocomplete the final question ofTeaching Help 2.13. Introducestudents to Alexander Pope’sfamous lines from An Essay onCriticism (pp. 342–44): “Thesound must seem an echo tothe sense” (l. 88).To help students see howmetaphysical elements supportDonne’s train of thought, askthem to work in pairs and markthe verbs and transitional wordsin the sonnet. Ask them to writedown ways in which the verbssupport the conceits and createparadoxes and wordplay in the

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sonnet. Use the More Discussionsection of 200B as well as MoreAnalysis 200C as support.You may wish to lead adiscussion on Donne’s use ofsound devices. Direct studentsto analyze how the sounds heemploys heighten the effect ofhis message in the three poems.Students may examine theeffect of meter and rhyme in“Song.” Then they may studythe euphony in “A ValedictionForbidding Mourning.” In lookingat “Holy Sonnet 14,” studentsmay say that the intensity ofDonne’s desire to be conqueredby God and frustration with hissin nature are mirrored in thethudding, alliterative b ’ s(“batter,” “bend,” “break,”“blow,” “burn”) and d ’ s(“dearly,” “ loved,” “betroth’d,”“divorce”).Call on a volunteer to rehearsethe definition of a metaphysicalconceit (pp. 183 and 197). Elicitfrom students examples ofconceits they have encounteredin their study.Ask students to brainstorm tocompile a list of everydayobjects that can be used toteach spiritual truths. Then pairstudents and ask them tobrainstorm a list of humanactions or qualities they canassign to the objects of theirchoice.Discuss imagery of GeorgeHerbert and Julian of Norwich.Both tend to use “homely”images. Who do you think mightbe their model in doing so? Ashinted at in Herbert’s “Jordan(2),” what might be their reasonfor using simple and accessibleimagery? The students shouldread more of the authors’ worksto find further examples of suchimagery. They can report anyfindings and conclusions to theclass.Divide students into threegroups. Distribute a copy of thethree poems (Teaching Help2.14) to each student and assignone of the poems to each group.

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Instruct individuals to read theirassigned poem silently, payingclose attention to rhythm,rhyme, and meaning. Then,instruct groups to orally readtheir poem among themselvesmore than once to familiarizethemselves with the poem’sflow, meaning, and tone.Distribute the Teaching Help2.15 chart to each student.Instruct each group to fill outthe chart for their poem,answering the questions as fullyas possible.Direct students to complete thechart individually and then tocompare answers with groupmembers. Tell students to addadditional answers fromclassmates with a pen of adifferent color. This coding helpsthe teacher and the students todistinguish between theiroriginal ideas and ideas fromgroup discussion.Direct students to brainstormconcrete ways in which thesecharacteristics might show up ina poem. Some possible answersare as follows: Simplicity couldarise in the use of commonword choices and images or insimple sentence syntax.Concision refers to acomposition being of the lengthand complexity it needs to befor the author’s purpose. Shortpoems with pared-downsentences that have fewnonessential words (e.g.,adjectives, adverbs, orprepositional phrases) couldresult. Balance frequently occursin highly structured lines andstanzas that use parallelism andrepetition. Precision is easy tomiss because the results seemjust right. Choosing preciselycorrect words or images is vitalto pursuing the other threecharacteristics listed. Point outthat all these characteristicssupport each other. Instructstudents to look for thesecharacteristics as they study thepoem assigned to their group.An easy place to start in

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analyzing style is to look forsound devices. Instruct studentsto first individually annotate thealliteration in their poem andthen compare with their group(see Teaching Help 2.14 Key).Next, they should bracket endrhyme patterns and comparewith their group. Direct astudent from each poem groupto mark a display copy for theclass.Continue using collaborativegroups to further identifyrepetition of words, lines, meter,and syntax. Instruct students toindividually underline parallelstructures on their assignedpoems. Can they find anyrepetition? Direct them tocompare answers with theirgroup members.

Unit 2 TheEnglishRenaissancePart 4RenaissanceDrama

(updated 6/28/19)

Summarize historicalbackground important tounderstandingShakespeare’s dramas,especially Macbeth.

1 .

Define characteristics ofthe Renaissance typestragedy and comedy.

2 .

Describe stage anddramatic conventions.

3 .

Identify key elements ofa work’s setting.

4 .

Infer a work’satmosphere from textualdetails.

5 .

Identify a work’semerging conflicts.

6 .

Apply historical contextwhen interpreting a text.

7 .

Analyze a work’s maincharacters.

8 .

Evaluate a text’s ideasfrom a biblical worldview.

9 .

Identify and interpretkey imagery in a work.

10.

Analyze a work’s use ofsymbol.

11.

Trace a work’sdeveloping theme.

12.

Evaluate a character’schoices in light ofScripture.

13.

Evaluate an author’sworldview from a biblicalperspective.

14.

Part 4Introduction:Renaissance DramaWill iamShakespeare: Macbeth Act 1Shakespeare: Macbeth Act 2Shakespeare: Macbeth Act 3Shakespeare: Macbeth Act 4Shakespeare: Macbeth Act 5Unit 2 Part 4 TestReviewUnit 2 Part 4 Test

Teaching Help 2.16Synopsis of The Comedyof Errors (web link)Of The Comedy of Errors(video web link)Of Othello (web link)Of Othello (video weblink)Of the Globe Theatreand BlackfriarsPlayhouse (web links)Clip on Globe Stage(video web link)Soliloquy from Othello (audio web link)Teaching Help 2.17Of words Shakespeareinvented (web link)Filmed production of MacbethTeaching Help 2.18Filmed production of MacbethPsychological profile andaccompanying graphicorganizer (web links)Quizzes for act 2, scenes1–2 and 3–4 (web links)Diagram (web link)Filmed production of MacbethHighlighters (differentcolors) per studentTeaching Help 2.19Filmed production of

Use the More Discussion sectionof During Reading question 219Dto pose Banquo’s question “What,can the devil speak true?”(1.3.107). Direct the students tofind Banquo’s answer to his ownquestion (1.3.122–26). Ask IsBanquo accurate in his answer asto whether the devil can speaktrue? (Yes, the devil can speaksuperficial or partial truths, but asthe Father of Lies, he always doesso for a deceptive purpose [John8:44; cf. Gen. 3:5, 22].)“Vaulting ambition” such asMacbeth’s is a major theme inScripture— whether kingship willbe driven by ambition or byhumility. Perhaps assign thefollowing passages to students toread aloud. Then as a classconnect their contents to thetheme of ambition: Genesis 3,Isaiah 14, 1 Samuel 2, Daniel 4:17,and Philippians 2.In Genesis 3, human rule over theearth was corrupted by theambition to be like God. In Isaiah14 the sin of Lucifer is theambition to sit in the Messiah’sthrone. In 1 Samuel, the bookabout the establishment of theIsraelite monarchy, humility is amajor theme running throughoutthe whole book. Hannah sets the

Show a short synopsis of TheComedy of Errors (seeTeacherToolsOnline.com). Youmay want to show it more thanonce or have students watch itprior to class. A writtensummary of The Comedy ofErrors is also provided if youprefer to let students read it.Direct groups to discuss theirindividual observations, comeup with a single answer, andrecord it on their handouts. Aska volunteer from each group toshare the group’s conclusions. Ifyou have multiple groups withthe same question, you maywant to give the groups achance to compare answers andselect one person to share withthe class. Display a short synopsis ofShakespeare’s Othello. Tellstudents to be ready to answerthe three Analysis of Tragedyquestions on Teaching Help 2.16after viewing the summary.Show students a short synopsisof Shakespeare’s Othello (seeTeacherTools Online.com). Youmay want to show it more thanonce or have students watch itprior to class. A writtensummary of Othello is providedif you prefer to let students read

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perspective.Create a psychologicalprofile of a work’scharacters.

15.

Identify a work’s key plotpoints.

16.

Analyze how plotintersects with othermajor elements (e.g.,theme).

17.

Analyze a work’s use ofirony to inform tone andtheme.

18.

Compare how two textsportray similar internalconflicts and characterchoices.

19.

Evaluate a work’sdepiction of sin and itseffects from a biblicalworldview.

20.

Examine a work’s motifsand how they developthroughout a work.

21.

Compare and contrasttwo characters.

22.

Analyze how a work’smotifs support itsthemes.

23.

Analyze a text’s use ofverse and prose.

24.

Evaluate the qualities ofcharacters in a workfrom a biblicalperspective.

25.

Summarize a narrative’skey events.

26.

Cite details from a text tosupport literary analysis.

27.

Analyze a narrative’smajor elements(character, conflict,setting, plot, tone,imagery, and symbol) todetermine itsoverarching themes.

28.

Assess whether a dramafulfills the classicrequirements of atragedy.

29.

Evaluate an author’smajor themes from abiblical worldview.

30.

Filmed production of MacbethTeaching Help 2.20Recording of Macbeth’ s“Tomorrow” soli loquy(video web link)Filmed production of Macbeth

the whole book. Hannah sets thetheme up in her song in chapter 2about God’s raising up the humbleand casting down the proud.Daniel 4:17 raises this theme. TheMost High rules over the kingdomof man and sets over it thehumblest of men.This scene is full of material aboutwhat it means to be a man. Ask What do Proverbs 25:28 andPsalm 1 convey about biblicalmanhood? (A true man restrainshis passions [Prov. 25:28], andtrue manhood flourishes within thebounds of God’s law [Ps. 1].)Use During Reading question 228Ain conjunction with Think andDiscuss question 12 to evaluateLady Macbeth’s words and actionsbiblically. Direct attention to line79a, and contrast it to line 31.Thanks in part to Lady Macbeth’spersuasion, Macbeth is nowresolved to commit murder. Ask Which character do you think ismost at fault here biblically? (Bothare at fault. Lady Macbeth eggsher husband on, but she does notmake him do anything. Herreasons are just a pretext he takesto act out the evil that is in hisheart already. They both decide onmurder. The Scriptures say that“out of the heart the mouthspeaketh.” Both are showing theirdarkened hearts.)Some of the ideas related to theGreat Chain of Being areunbiblical. For instance, the Bibleteaches that God is fundamentallydifferent from the creation anddoes not share the same kind of“being” with everything else onthe chain. Also, while manymodern-day people are wronglyopposed to almost any form ofhierarchy, the Great Chain of Beingerred in placing everything in onegrand hierarchy. Nonetheless, theidea of an ordered world is biblical.God built norms into His world togovern how nature (Jer. 31:35–36),farming (Isa. 28:24–29), marriage(Matt 19:4–6), government (1Peter 2:13–17), and everythingelse is supposed to work. Thoughthe Great Chain of Being is a faulty

if you prefer to let students readi t .Direct groups to discuss theirobservations and come up witha single answer to theirquestions. You may want tohave groups pair up andcompare answers before sharingthe groups’ conclusions with theclass.Direct students to draw the tworemaining stage designs usingtheir text descriptions andpossible prior knowledge, orallow students to search onlinefor diagrams. Display studentdesigns or online content.Prior to class choose threestudents to be the witches andhelp them practice speaking incharacter. When class begins,ask these three students toperform the first twelve lines ofthe play.To set the play’s atmosphere inthe classroom, dim the lightsand play a recording of athunderstorm. These effects willhelp students imagine thesetting of scene 1.Alternatively, play scene 1 of afilm or movie version of Macbethin order to establishatmosphere. Then proceed to adiscussion of setting andatmosphere.Turn students’ attention toMacbeth. Use During Readingquestions 222B and 222C tojudge how he does or does notconform to the Great Chain ofBeing in word and deed.To remind the students of therelevance of imagery, symbol,and theme to understandingMacbeth, guide them in adiscussion of how these piecesconnect.Divide the students into groupsto create psychological profilesfor the Macbeths. Instruct halfthe groups to create apsychological profile for LadyMacbeth and the remaininggroups to create a profile forMacbeth. Direct students toreview their notes from acts 1and 2, particularly observations

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model, it is true that people shouldsubmit to authority within thehome and to government, withexceptions of instances when anauthority violates the commandsof God (Eph. 6:1–2, Rom. 13:1–7,Heb. 13:17). See also BJU Press Biblical Worldview, pages 82–90and 122–25 for more information.After receiving the prophecies,Macbeth becomes gradually moreconvinced that he must dowhatever possible to fulfill them,regardless of the consequences.The theme of unchecked ambitionis not original to Shakespeare:even major Bible charactersevidence great ambition. Ask Whoin the Bible was ambitious?(Answers may vary, but studentsmight mention Jacob or David.) Ask Who experiencedconsequences for using unbiblicalmethods to fulfill the plan God hadrevealed? (Answers may vary, butJacob is one example.) Ask Canyou think of an example in whichGod blessed someone for waitingon His timing to fulfill His purpose?(God blessed David for waiting tobecome king.) Ask students toexplain their answers.Jacob and David receivedprophecies, but they pursued themin different ways. Discuss howtheir choices and consequencesare manifested in the events ofGenesis 25 and 27 and 1 Samuel16 and 17. Ask students to explainhow the lives of these individualsillustrate ambition’s dangers.Jacob was promised a great future,a birthright, through the prophecyof God. When Jacob heard Isaacplanning to bless Jacob’s twinbrother, Esau, with the birthright,Jacob deceived his father. Byposing as Esau, he received Esau’sblessing of great wealth andpower. On the other hand,because Jacob stole the birthright,he had to flee his brother and liveestranged from his family for manyyears. Ask If Jacob had waited onGod, would God have kept Hispromise, even in suchcircumstances? (See the followingdiscussion.)

on the Macbeths in TeachingHelp 2.18. Instruct students todocument their f indings on theirgraphic organizer.Direct students to develop theirnotes into several paragraphs,including a summary of theinvestigation of the criminal’smind, a conclusion of thecriminal’s development, and aprediction of his or her future.Encourage students to work asteams, perhaps each working ona column in the graphicorganizer as well as a paragraphof the final document. Presenttheir results.To trace the plot developmentthrough act 3, ask students tosummarize the names,descriptions, and actions of twoor three characters in the play.Draw close attention to Duncan,his sons, Banquo, Fleance, andMacduff. Also remind students ofthe kinship of Macbeth andDuncan.Direct students to read lines48–71 on their own. Instructthem to highlight or underlinekey words related to Banquo inone color and to Macbeth in adifferent color. Pose thequestions in More Analysissection 242B, and directstudents to answer themindependently. Walk around theroom to offer support.Group students into threes orfours. They will remain in thesegroups for the remainder of thelesson. Direct them to draw aT-chart in their notes. Instructthem to read lines 8–45 silentlyand then discuss in their groupsways in which the relationshipbetween Macbeth and LadyMacbeth has changed since act1. The students can describe therelationship from early in theplay in the left column of theirT-charts and the relationship inact 3 on the right side. Refer toMore Analysis section 244C forsupport.Elicit from students details of thewitches’ prophecy from act 1.Ask whom the prophecy

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To guide students in answeringthat question, examine God’s workin David’s life. Although anointedas a young man to be the nextking, he chose to wait many yearsfor the Lord to make him king.When forced to hide from Saul,David felt guilty for cutting Saul’sgarment and taking Saul’s waterand spear; David desired to be inno way disrespectful to the kinganointed by God. Despite Saul’srepeated efforts to kill David, Godprotected David, blessing histrusting obedience with akingdom whose lineage can betraced to Christ. One of the majorthemes of the book of Samuel isthat God humbles proud rulersand raises up humble rulers (cf. 1Sam. 2:4–8, 2 Sam. 22:28).The consequences of Macbeth’sunchecked ambition provideopportunity for discussing thereason God has allowedconsequences to naturally followsin. Point out that God made theworld to work in a certain way. Inother words, norms are built intocreation. Living cross-grained tothose norms will typically bringconsequences on earth. Proverbsin particular addresses this typicalcause-effect structure inconnection to good and evil andtheir consequences. However,even in Proverbs, and especially inJob and Ecclesiastes, there is therecognition of exceptions to thenorm in a fallen world: “There is avanity that takes place on earth,that there are righteous people towhom it happens according to thedeeds of the wicked, and there arewicked people to whom it happensaccording to the deeds of therighteous” (Eccles. 8:14). Oftenthe ultimate punishment is in eternity.Ask students to considerMacbeth’s actions in light ofDavid’s conversation with Abishaiin 1 Samuel 26:9: “And David saidto Abishai, Destroy him not: forwho can stretch forth his handagainst the Lord’s anointed, andbe guiltless?”Tell students that part of thereason the Macbeths are suffering

concerned. Ask whether therewere details about the prophecythat were vague or that could beunderstood several differentways.Ask students to discuss (in theirgroups) what some of thedifficulties of staging thebanquet scene would be. Pointout that the actors playing thelords at the table and LadyMacbeth would have to feignbeing unable to see the ghost.And how could you successfullydepict a ghost using a realperson in a live performance?Ask a speaker from each groupto share his or her group’sconclusions with the rest of theclass.Ask students to consider howdifferent the banquet in scene 4is from a normal banquet duringthe time period in which theplay is set. Ask how guests of aWhite House or BuckinghamPalace state banquet wouldhave responded if suddenly thehost had started acting likeMacbeth acts in this scene.Assign students to groups.Direct each to reread the scenetogether and summarize itsevents. They should then sharetheir summaries with the rest ofthe class. Examples mightinclude the following.The witches have gatheredtogether. They speakincantations to make a charm.They are joined by Hecate andother witches to celebrate. ThenMacbeth enters and demandsthey give him more informationabout his future. They reveal tohim three apparitions: an armedHead, a bloody child, and a childcrowned. They seem to assurehim that his reign is secure. Notcontent, he demands assuranceagainst Banquo’s line. Anotherapparition of a line of kingsappears, dashing Macbeth’shopes. The witches leave.Macbeth hears Macduff has fledto England and decides to killhis family.Essentially, the scene gets at

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under their burden of guilt is thatthey are defying God’s creationalnorms (found in both general andspecial revelation). Macbeth canturn away from God’s creationalnorms for only so long before hisactions will catch up with him. Thistragedy is a reminder that sinners“sow the wind” and “reap thewhirlwind” (Hosea 8:7).God, with whom all authorityultimately resides, has delegatedkings, presidents, and legislativebodies with the responsibility todo good (Rom. 13:1–7, 1 Pet.2:13–17). God’s view of how thisauthority is to be exercised standsin stark contrast to how humansare inclined to exercise authority.People in power are inclined tomake much of their power, butJesus told His followers that theones entrusted with the mostauthority ought to be the “servantof all” (Mark 10:42–44). The“vaunting ambition that o’erleapsitself” (1.7.27) is Satanic, and theresult is to be thrust down to hell(Isa. 14:13–15). By contrast, Christwas exalted with “a name . . .above every name” by humblinghimself to serve others throughHis death on the cross (Phil.2:5–11). In Scripture, goodleadership is always humble andself-sacrificing for the good ofthose being led (cf. Eph.5:25–29, 1 Pet. 5:1–3). A good king“shall be as the light of themorning, when the sun riseth,even a morning without clouds; asthe tender grass springing out ofthe earth by clear shining afterrain” (2 Sam. 23:4).Using Scripture, justify theaccuracy of Shakespeare’sportrayal of the consequences ofLady Macbeth’s sin. (Answers willvary. The physical and emotionaleffects recounted by David inPsalm 32 attest to the accuracy ofShakespeare’s portrayal of theconsequences of Lady Macbeth’ssin.)

the nature of good nationalleadership, according toShakespeare. Send studentsback to their groups. Directthem to suggest major themesthat they believe the scene isdeveloping. (Note: In the courseof the conversation, Malcolmand Macduff touch on all fourmajor themes. Accept answersstudents have properlysupported from the text.)Direct students’ attention to theVisual Analysis question onpage 271. Point out LadyMacbeth’s change in bodylanguage as depicted in the twoscenes—from confident and incontrol to frightened andvulnerable.Ask students whether they everrequired a nightlight becausethey were afraid of the dark.Those who answer yes may beable to somewhat identify withLady Macbeth’s fear of the dark.



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Quarter 3

Unit 3 Civil Wart oEnlightenmentPart 1 Civil WarandRestoration

(updated 6/29/19)

Recognize historicallysignificant people,forces, and eventsframing the literature ofthe Civil War toEnlightenment.

1 .

Identify some broadconnections betweenthese and the era’sliterary trends andthemes.

2 .

Explain the influence ofthe Civil War on readersand writers.

3 .

Describe how the CivilWar shaped writinggenres.

4 .

Identify thecharacteristics ofCavalier poetry.

5 .

Annotate a text toanalyze a poem.

6 .

Infer meaning todetermine a poem’stheme.

7 .

Analyze a poem’s use ofsound devices, imagery,and figurative language.

8 .

Evaluate an author’svalues and a poem’stheme according to abiblical worldview.

9 .

Identify characteristics ofmetaphysical poetry.

10.

Infer a speaker’spersuasive appeals.

11.

Interpret a poet’s use ofimagery and figurativelanguage.

12.

Analyze tone createdthrough humor,hyperbole, andunderstatement.

13.

Evaluate a speaker’sresponse to encroachingtime and mortality.

14.

Identify characteristics ofargumentation.

15.

Trace a writer’sarguments and supportthroughout a text.

16.

Evaluate an author’sarguments in light of abiblical worldview.

17.

Identify characteristics of18.

Unit 3Introduction: CivilWar toEnlightenmentPart 1Introduction: CivilWar andRestorationThe Cavalier PoetsRobert Herrick: “Tothe Virgins, ToMake Much ofT ime”Richard Lovelace:“To Lucasta: Goingto the Wars”Andrew Marvell:“To His CoyMistress”John Milton: from Areopagitica,Sonnet 19John Milton: from Paradise Lost:Book 1Samuel Pepys:from The Diary

Teaching Help 3.1A recording of HenryPurcell’s music (web link)Teaching Help 3.2Of both poems (audioweb link)Of William Lawes’s song“Gather Ye Rosebuds”(audio web link)Of censorship in the1500s (web link)Rubric (web link)Of “Sonnet 19” (audioweb link)Several colored pencilsper studentOf the selection forstudent annotationOf Paradise Lost Book 1(audio web link)Teacher Help 3.3Historical accounts ofthe Great Plague andthe Great Fire (web links)Example of aneyewitness account ofan important event

There is certainly much truth tothe assessment that theEnlightenment saw Westerncivilization make massive stridesin knowledge and in civilization.The developments in commerce,governance, science (includingmedicine), the arts, and manymore areas were unprecedented.These developments continue tobe of tremendous benefit to mostpeople living today and so shouldnot be ignored. However, from aChristian worldview, it is also truethat the Enlightenment openedwide the door to much error.Elements within this new agebegan to place a firm wedgebetween matters of faith andthose of reason in ways thatprevious generations had not. Thisdevelopment would only continuein the coming centuries.Note that the divine right of kingsdiffers from the biblical teachingthat God ordains kings andgovernments. It goes beyond theBible to argue that the king isaccountable to no one on earth.That was never the Christian viewfrom the early church all the waythrough the Middle Ages.Direct students to work in pairsand draw a T-chart, writing“Eighteenth-Century RationalistWorldview” and “BiblicalWorldview” as the headings.Instruct them to list characteristicsof each worldview in theappropriate columns. Ask forvolunteers to come to the boardto write down the conclusions theclass comes to. Results may vary,but here is a suggested list: Afairly typical eighteenth-centuryrationalist would hold that (1) manis basically good, (2) his happinessconsists of living reasonably withhimself and society, (3) he needsto subjugate his personal desiresto society’s interests, (4) reason ismore significant than affection,and (5) divine grace isunnecessary (not all believed this).A biblical worldview holds that (1)

Choose a volunteer to write thenames of all the rulers fromCharles I up to this section onthe board. The list shouldinclude the following: Charles I,the Interregnum (OliverCromwell), Charles II, James II,William and Mary, and Mary’ssister Anne. Ask the rest of theclass to check the accuracy ofthe list and suggest changes ifnecessary.Ask students to imagine thatthey are owners of small farms.They do not have much propertyof their own, but they are raisingtheir own livestock. Manyvillages had common land wheresubsistence farmers could growcrops or provide grazing for theiranimals.Review with students how bothrationalism and tradit ionalismharmed the Anglican ChurchLead a discussion with studentsabout the era’s scientists andtheir achievementsDiscuss with students how theEnlightenment influenced theEnglish language—both ingrammar and with theproduction of dictionaries.Lead a discussion guidingstudents through the transitionfrom the literature of theInterregnum and theRestoration to the ultimateflowering of neoclassicism.Lead a discussion on themeaning of the pendulum effectand how it affects society.Ask the following questions tohelp students understand eachpoem’s basic meaning andperspectiveDirect students to pair with apartner. They should answerThink and Discuss question 1and then explain how eachpoem demonstrates thecharacteristics of Cavalierpoetry. Review their responsesas a class.Divide the students into at leastthree groups. Direct one group

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l iterary epic in a text.Paraphrase orsummarize a text tounderstand it.

19.

Analyze a poem’s form(sonnet, blank verse,etc.)

20.

Analyze a work’scharacters for authorialtone.

21.

Evaluate criticalinterpretive perspectiveson a work.

22.

Identify sensory detailsin an eyewitness account.

23.

Ask questions of aprimary source todetermine its historicalcontributions.

24.

Analyze how Pepys usedsensory details toconvey his experience.

25.

Create an eyewitnessaccount that includessensory details.

26.

man is corrupt, (2) his happinessconsists in loving God and others,(3) man needs to align his desireswith God’s will, (4) reason andaffection are equally importantparts of a person, and (5) God’sgrace is necessary to restorepeople to Himself.Guide students to understand thatChristians must choose how theyrespond to challenging times.Writers also experience thisstruggle. In fact, the life of David, agreat poet, reveals this principle ofhuman nature and creativity. Ask How did David respond usingliterature when chased by Saul orpursued by other enemies? (Heprayed to God in songs of poeticverse called psalms. Theseexpressed the natural emotionsinherent to human natureundergoing a trial and the turningof a believer to God for help invarying degrees of confidence.)To guide students in evaluatingHerrick’s theme, use Think andDiscuss question 7. This poem isunusual among carpe diem poemsin that his conclusion is marriage.Given the typical light tonality ofCavalier poets, Herrick may nothave intended his urging to betaken seriously. In the poem thepassing of the seasons enforces itssummons to marriage. Underserious evaluation, his argumentfor marriage does not fit with abiblical worldview. A wise decisionto marry requires carefuldeliberation rather than haste.Also, marriage, though deservingthe highest respect as a sacredinstitution ordained by God, is notthe only means of fulfillment in alife that seeks to carry out the willof God (Matt. 19:12). Finally, aview of life that sees the yearsfollowing youth as bringing onlyincreased loss is inadequate onany grounds and certainlybiblically inaccurate. Thematerialistic-hedonistic view of lifeis fundamentally tragic.Instruct three students to readaloud James 4:14, Isaiah 40:8, and1 Peter 1:24. Ask Evaluate thespeaker’s response to encroaching

to identify the sound devices inthe rest of Lovelace’s poem,another group to identify thesound devices in Herrick’spoem, stanzas 1–2, and anothergroup to identify sound devicesin stanzas 3–4. Review theiranswers as a class, using theanswer to During Readingquestion 297A and its attachedsections as support.Divide students into smallgroups. Direct them to pulltogether what they have beenable to infer through the poets’use of form and figurativelanguage. Instruct them todetermine the theme of eachpoem, using Think and Discussquestion 5. Review theirconclusions as a class.Direct students to apply thecharacteristics of dramaticmonologue to Marvell’s poem,showing how they fit the poem.Students should understandthat the poem has one speakerwho is talking to “his mistress”about a single topic, theconsummation of their love.Pair students and direct them toanswer During Reading question299B, noting what the loverwould do had he the time.Instruct them to list the variousimages the speaker uses toconvey this point. Can they findany examples of hyperbole inthis passage? Consult the MoreDiscussion section of 299B forpossible answers.Divide students into groups ofthree or four. Direct them toanswer Think and Discussquestion 3 and locate theimages for During Readingquestion 300B. Additionally, theyshould find and list any imagesor imaginative comparisonsthey find in stanza 3.Once students have theiranswers, pair each group withanother. Direct paired groups toshare their answers and cometo a consensus on each. Bringstudents back together and aska representative from eachcombined group to share the

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time and mortality. What does heget right? What does he notconsider? (See Think and Discussquestion 9 for answers.)Explore the speaker’s desire toevade the control of time byposing During Reading question300D to the class. Once they haveanswered, remind them of thevarious images for time. Note thepower of the second stanza’simagery. Encourage students to“hear” the winged chariot in theirmind’s ear and to imagine time’shaste.Solicit from students a summary,from both Areopagitica and Sonnet19, of what Milton says a morallymature person should do. Refer toMoses’ story (alluded to in Acts7:22) and how, though he wasfamiliar with everything Egypt hadto offer, he chose to obey God’sdirection to deliver the Israelites.He was actively virtuous. Ask What are some ways you can beactively virtuous as you go aboutyour everyday activities? (Answerswill vary. Students may say thatthey can study God’s Word andcontrast the doctrines there withfalse religions. They can confrontsin with the help of Scripture andthe Holy Spirit when they aretempted to lie, waste time at work,lust after someone, or make plansindependently of God. They canshare the gospel with unsavedfamily and friends and do so in away that expresses true love, nota holier-than-thou attitude. Theycan use their talents to honor Godand whole-heartedly carry outwhat He has assigned them to doright now.)Guide students in understandingthat the character of Satan isdrawn in terms of the conventionalRenaissance rebel. His subversionof the external order ruled by Godis accompanied by a subversion ofhis internal psychological orderruled by reason. His reason isoverthrown by passion, and hecannot think straight. The rule ofGod in the universe, in society,and within the personality is anordering and harmonizing

group’s answer with the class.Once you have agreed on theresults, lead the followingdiscussion.Lead students to finishanswering During Readingquestion 300B. Use the MoreDiscussion section attached todiscuss the possible tone of thespeaker. The poem’s tone israther ambiguous, so allowstudents to argue for bothinterpretations mentioned in thesection.Next, consider the images thatstudents found in stanza 3. UseMore Analysis section 300C as areference.Instruct students to work with apartner to answer Think andDiscuss question 4. Allow timein class for students to sharetheir answers. Encourage themto practice close reading byjustifying their answers from thetext .Students should know that inother portions of the text, Miltonmakes it clear that he isaddressing the morally maturereader (and speaker) in Areopagitica and does presumehis readers are capable ofjudging literature well. On theother hand, he does challengethe immature person to grow intaste and discernment, to“rea[d] all manner of tractatesand hea[r] all manner of reason”for “the confirmation of truth” intheir hearts.Show a video on the history ofcensorship (seeTeacherToolsOnline.com for anexample). Allow volunteers toshare common standards thatthe United States governmentand other governments have setfor what their citizens may ormay not read.To help students betterunderstand Milton’s text, youmay wish to briefly share thecensorship history of Wycliffe’sBible (seeTeacherToolsOnline.com for alink) and mention thecensorship history of the

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principle, the rejection of whichleaves an individual without meansof continuing his intelligentexistence (Col. 1:17). Satan’sdegeneration appearsconspicuously in Book I in Satan’sirrationality. In the selection inthe text, Satan expresses threeabsurdities: (1) that his revoltshook the throne of the Almighty(a statement in conflict with itselfas well as with the facts), (2) thathe has escaped his chains in theburning lake by his own strengthand “Not by the sufferance ofsupernal power,” and (3) that hecan out-think and out-scheme theall-knowing God. Lines 204–15make clear the self-delusion of theArch-Fiend. While conceding theomnipotence and omniscience ofGod, he acts and speaks as ifthese attributes were not real.Satan is a mock hero.Point out that natural calamitiesare not always judgment for sin.When the disciples asked Jesuswhether a blind man was blindbecause he sinned or because hisparents sinned, Jesus rejected bothoptions (John 9:2–3). Calamitiesmay be judgment for sin, and theyshould provoke self-examination.But without specific divinerevelation, we do not know thepurpose or purposes God has in acalamity. Human reason cannotjudge God’s purposes apart from aspecific word from God. All thingsare in His control and are for Hisfinal divine purpose, which isalways good.

Spanish Inquisition. Miltonreferences these examples inearly passages of Areopagitica.Demonstrate your ownannotation of a text (perhaps ofAnne Bradstreet’s poem “TheAuthor to Her Book”). Markwords that are either unfamiliaror that were defined differentlyin the author’s day. Posequestions of the text, forinstance, about any analogies orallusions used. Underlinepassages that contain the text’smain points.Ask students to individuallyannotate the text again. Thistime they should mark thesentences that seem to containMilton’s key ideas andsupporting points. After thisannotation, ask students todiscuss their annotations with apartner.Direct students to refer to theannotat ions that they made atthe beginning of the lesson. Askthem to tell their classmateswhich allusions they marked inthe third paragraph of theexcerpt. Students should referto these annotations in thediscussion that follows.Call on a volunteer to readparagraphs 4 and 5 of theexcerpt. Ask students tocomplete their annotations ofthese paragraphs as this studentreads aloud. After the volunteerhas finished reading, allow a fewmore minutes for this studentand the others to finish theirannotations. They should followthe directive outlined in DuringReading question 304A. Thenask students to share anddiscuss their answers.Focus students’ attention on afamous sentence fromAreopagitica in order to keepthem concentrating on Milton’sargumentation.Direct small groups of studentsto read the sixth paragraph ofthe excerpt together. Ask thegroups to make moreannotations of transitions andother ways in which Milton

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maintains the smoothprogression of thought betweenparagraphs.Direct students to continue theirpractice of annotating withSonnet 19. Instruct them toreread the sonnet and circlerhetorical devices, words withmore than one possiblemeaning, or words that expressthe different actions andattitudes of the speaker. Theyshould underline lines thatconvey the main ideas of thepoem. Ask them to make notesabout the feelings and changesthe speaker is experiencing.Walk around the room to offersupport.So that students can analyze thetext structure, ask them to workin small groups and follow thedirections in During Readingquestion 305F. If needed, referthem again to page 185 forsonnet characteristics. Discussthe students’ analyses of therhyme scheme and the majorturn in thought (the volta).Perhaps direct them to findsome of the features noted inMore Analysis section 305G aswell.The densely allusive andsyntactically convoluted style ofParadise Lost may be lessoverwhelming if students hearan oral reading or audio version(see TeacherToolsOnline.com).Listening will also help thestudents get a properappreciation for its power andlyricism.Briefly review how Paradise Lostfits the genre of literary epic.Use the answer to Think andDiscuss question 1 (p. 313) tosupport your discussion.List with students the eight epicconventions discussed on page306. Display these for studentsand instruct them to create aT-chart with the conventions onone side and examples from thetext on the other. They shouldfill out this column as the classdiscusses the text.Direct pairs to compare details,

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emphasizing the various typesof details Pepys records. Instructthem to discuss his feelings,emotions, and opinions.Direct student pairs to identifyexamples from the remainder ofthis section, using the chart inTeaching Help 3.3. Point outthat the chart lists sight, sound,and touch— the senses Pepyspredominately uses. Directstudents to address DuringReading questions 319A and319B in their work.Combine pairs or switchindividuals to compare thesensory details identified.Instruct students to add shareddetails to their own initialfindings with a pen or pencil of adifferent color. Doing so willhelp them recognize their ownlearning processes.

Unit 3 Civil Wart oEnlightenmentPart 2 EarlyNeoclassicalWriters

(updated 6/29/19)

List the literary genresthat wielded greatinfluence during theearly neoclassical era.

1 .

Explain how culturalforces of the earlyneoclassical era shapedits literature.

2 .

Identify characteristics ofjournalistic realism(verisimilitude) in a text.

3 .

Identify a work’snarrative point of view.

4 .

Determine an author’spurpose for a text.

5 .

Analyze a story’s maincharacter and hissignificance to theme.

6 .

Evaluate Defoe’s attitudetoward nature and God’sprovidence from abiblical perspective.

7 .

Explain the social andliterary factorscontributing to the riseof the novel.

8 .

Identify the types andpurposes of the novel.

9 .

Explain the connectionbetween the novel andsocial developments inthe Enlightenment.

10.

Define Horatian satire.11.Infer an author’s tone12.

Part 2Introduction: EarlyNeoclassicalWritersDaniel Defoe: from Robinson CrusoeLonger Works ofLiteratureThe Rise of theNovelJoseph Addisonand RichardSteele: The TatlerNo.25, TheSpectator No.34Alexander Pope:from An Essay onMan, from AnEssay on CriticismJonathan Swift:f rom Gulliver’sTravelsUnit 3 Parts 1 and2 Test ReviewUnit 3 Parts 1 and2 Test

List of major literarygenresVideo on coffeehouseculture (web link)A Venn diagram for eachstudentJournalistic writing traits(web link)Of Moll Flanders (weblink)Of journalism’s history(web link)Context of Crusoe (weblink)Teaching Help 3.4Teaching Help 3.5Picture of the Dome ofSt. Peter’s Basilica (weblink)Recording of “BookReport” from You’re aGood Man, CharlieBrown (audio web link)Teaching Help 3.6The Butter Battle Bookby Dr. Seuss (audio weblink)

Lead a discussion about the valueof learning for the believer. Drawstudents’ attention to thestatement about Protestants’value of learning (see para. 2, p.321). Ask students what Biblepassages or principles can guideus in our approach toward learningand literacy. Tell students thatScripture often links the beginningof knowledge to the fear of God.The apostle Paul reminded ayounger leader of the church thathe should study to handle theScripture appropriately. Perhapsreference what Spenser, Sidney,and Milton had to say aboutlearning in the passages thestudents have read.Guide students in understandingthat journalism can help readersknow truth. A beautiful (notnecessarily pretty) presentationcan highlight or make evidenttruth, and thus provoke moralchange or goodness in the reader.On the flip side, readers mustbeware of bias, which tends tointentionally or unintentionallyskew a representation of truth.One of the great beauties of theinspired Scripture is that it iscompletely true.God does reveal Himself through

Direct students to select two oftheir favorite pieces that theyhave studied in this text. Theyshould record three or fouradjectives describing the writingstyle from each of their chosenworks. Then ask them to writetwo sentences predicting andexplaining how earlyeighteenth-century writingdiffers from those selectionsfrom earlier eras. After allowingtime for students to write,compare and discuss answersas a class.Distribute a Venn diagram toeach student. Ask students towork in pairs to compare andcontrast the romance and thenovel. Refer them to page 36(second-to-last paragraph) formore information on theromance. Students may alsorefer to page 321, paragraph 4for characteristics of the novel.Tell students that the basicpremise of Robinson Crusoe isthat a young man runs away tosea, goes on severaladventures, becomes a wealthyplantation owner in Brazil, and ismarooned on an island fortwenty-eight years before he isrescued. Engage students by

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Infer an author’s tonefrom textual details.

12.

Ask questions of a text todetermine its satiricaltarget.

13.

Analyze an author’sarguments in an essayto determine his mainidea.

14.

Analyze a text as anexample of Horatiansatire.

15.

Create a short articlesatirizing a social customin the style of Addisonand Steele.

16.

Identify characteristics ofthe heroic couplet.

17.

Determine an author’spurpose for a text.

18.

Infer meaning fromdetails in a text.

19.

Analyze a work forcharacteristics ofneoclassical style.

20.

Evaluate an author’srationalistic apologeticsfrom a biblicalperspective.

21.

Identify features ofJuvenalian satire in atext .

22.

Apply historicalbackground tounderstand a text.

23.

Infer an author’s tone tounderstand his message.

24.

Analyze a work’snarrator and itsconnection to theme.

25.

Evaluate an author’sperspective on humannature and society froma biblical perspective.

26.

God does reveal Himself throughthe natural world, but withoutScripture, people do not tend tointerpret natural revelationcorrectly. In Acts 14:15–17, Paulsays that God left the people awitness in the natural world, butthey did not understand it untilPaul explained it to them (i.e.,divine revelation).Use 344B to emphasize the unityof Truth, Beauty, and Goodness.Share with students that they havean opportunity to practiceadorning Truth with Beauty inThink and Discuss question 10.Make sure you clarify a biblicalview of humanity and the attitudeof misanthropy using the passagesprovided. While the Bible makesabsolutely clear humanity’sbrokenness and need for a Savior,its view is not despairing. First, theimage of God in man, thoughmarred, remains and thus leavesmany good things in the world.More importantly, God lovinglyprovided a way of redemptionthrough Christ’s perfect sacrifice.Despair at man’s condition flies inthe face of the hope God hasoffered all humanity throughsalvation.

rescued. Engage students bysharing the novel’s similaritiesto other adventure and survivalstories such as The Swiss FamilyRobinson, Cast Away (2000), Unbroken, and Life of Pi.Engage students with thehistorical context that motivatedDefoe to write Robinson Crusoe.Divide students into pairs. Eachpair should write down two orthree ways in which DanielDefoe is suited for the task ofwriting an adventure novel.Students may considerelements of Defoe’s style,biography, and historicalcontext. Ask students to sharetheir answers with the rest ofthe class.Spend some time noting howjournalistic style andverisimilitude can work together.Call on several volunteers toread pages 323–24. Ask thestudents to try to imitateCrusoe’s voice (as they imagineit) as they read. Then ask DuringReading question 324C. Followup on students’ responses withmore discussion on the effect ofDefoe’s verisimil itude.After allowing students to findexamples of verisimilitude andjournalistic elements on theirown, ask During Readingquestion 326A. You havealready told students thatDefoe’s journalistic style isdifferent from what weencounter today in newspapers.To scaffold students towardlater analyzing Crusoe’scharacter, lead a brief discussionon how Defoe’s journalistic styleconveys Crusoe’s characterqualities.In order to scaffold studentstoward analyzing the story’smain character and hissignificance to theme, instructstudents to think about Defoe’ssocioeconomic and religiousbackground and the relationshipof that background to Defoe’spurpose in writing RobinsonCrusoe.Ask students how characters

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they have read about thus far inthis British literature coursehave reflected authors’ purposes.Ask students to work in groupsto compare and discuss theannotations they made whenworking independently. Then, sothat they begin evaluatingDefoe’s purpose and Crusoe as acharacter, ask the groups toanswer During Reading question330A together.To scaffold students’ evaluatingDefoe’s attitude toward natureand God’s providence from abiblical perspective, askstudents to answer the first twoevaluative During Readingquestions (325E and 329B) ingroups.Divide students into smallgroups and distribute TeachingHelp 3.4. Direct groups tosummarize the essay togetheras directed in the handout.Briefly compare and reconciletheir summaries afterward.Direct your small groups tosummarize this essay usingTeaching Help 3.4 again.Perhaps divide sections amongthe groups to speed up theprocess. Share their summariesafterward.Briefly examine both articles foreffective style and arguments.Discuss the students’ feelingsabout the tone of both essays.If students are already familiarwith Swift’s Gulliver’s Travels,briefly model the differencesbetween Horatian andJuvenalian satire. Display thedefinition of Juvenalian satire (p.346). Contrast it with Horatiansatire using these essays andSwift’s work. Gulliver’s Travels ismore biting in tone, as evidentthrough direct condemnatorystatements such as these: “Andso unmeasurable is the ambitionof princes” and “of so littleweight are the greatest servicesto princes, when put into thebalance with a refusal to gratifytheir passions.” The groups Swiftattacks come out looking eitherridiculous, petty, or unstable

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and malignant (the emperor andhis supporters). This differencein satirical approach is likely duein part to the authors’ differentpersonalities, but it may alsoresult from the seriousness ofthe flaws being ridiculed. Thepeople Swift was taking aim atwere doing far more damagethan Steele’s targets.Discuss how these worksexemplify satire using DuringReading questions 335C and337D. To illustrate the variancein satirical tone, compare andcontrast Chaucer’s tone (p. 88)to Addison and Steele’s. Likethe journalists, Chaucer usedverbal irony and humor, but attimes, Chaucer’s satire wasmuch harsher than Addison andSteele’s. Guide the students inreviewing the arguments in thearticles and makingobservations on the Horatiansatire bound up in them usingThink and Discuss.Divide the students into groups.Direct students to answer Thinkand Discuss question 4 todescribe the value of satire,according to Addison and Steele.Use the Create instructions aswell as Think and Discussquestion 5 to direct the studentsin writing a short satire (one totwo paragraphs) of a currentcultural practice. Elicit fromstudents a variety of culturallyrelevant topics; display thetopics. Encourage students tochoose one of these topics andto create a list of severalreasons/illustrations as support.Consider allowing students tocollaborate in small groups asthey generate ideas. Doing somight expedite thebrainstorming process and helpless confident students move onto writing more quickly.Direct students to use theirideas to create one or twoparagraphs that follow theseessays’ models of introduction,support (reasons/illustrations),and conclusions. Provide apublishing opportunity by

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posting several strong exampleson the school website or classbulletin board.Divide students into six groups.Assign each of the followingsections to two groups: lines1–16 or 17–34 of Epistle 1 or allof Epistle 2. Each group shouldparaphrase their sections. Directgroups assigned the same linesto compare and adjust theirwork. Finally, share these as aclass.Explain the classical allusions ofthe Muses and the Pierian springto help students understandPope’s point about avoidingshallow learning.Divide students into smallgroups. Instruct groups to useTeaching Help 3.5 to analyze theimagery in lines 19–32, 33–42,43– 50, 51–59, and 60–88 of AnEssay on Criticism. Students willlabel the imagery in thesesections and paraphrase Pope’smeaning to determine his mainpoints.Elicit responses from each groupfor each section of lines.Encourage students to add anyinformation that was missingfrom their group work in adifferent color on theirworksheets. This practice helpsthem recognize how they canimprove their analysis skills.Responses should cover DuringReading questions 342B, 343E,and 344A (save its MoreDiscussion section for laterdiscussions of style).Elicit from students thedefinition for heroic couplet fromthe Analyze strand on page 339.To help students understandiambic pentameter, direct themto reread lines 43–44 in AnEssay on Criticism. Elicit theanswer to 343C. Remindstudents that they have studiediambic pentameter and coupletsbefore in Unit 2. Elicit fromstudents the characteristics ofneoclassical style from theAnalyze strand on page 339.To prepare students to createtheir own heroic couplets,

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instruct students to copy two oftheir favorite heroic coupletsfrom the two poems. Refer toThink and Discuss question 9 forfurther discussion on the meritsof heroic couplets. Remindstudents that one keycharacteristic of the heroiccouplet is its ability to standalone and communicate acomplete thought or generalt ruth.Review with students theanalysis of the lines found in theAnalyze strand on page 339.Explain that the main idea ofwarning against tolerating viceis reiterated by the parallelism ofverbs in the last line (“endure,then pity, then embrace”). Showstudents the parallelism andsymmetry of the second line (“tobe hated”; “to be seen”).Implement During Readingquestion 341D along with itsClose Reading section. Allowstudents to quietly examinelines 1–10 by themselves for afew minutes. Then call on a fewdifferent students for answers tothe question. Encouragestudents to take notes on anyfeatures they may have missedin their own analysis.Direct students to recall ameaningful truth, perhaps froma recent sermon or their ownBible reading. Instruct studentsto write the truth in prose formfirst and then create a heroiccouplet that encapsulates thetruth in poetic form. Ask forvolunteers to share results.Divide students into pairs orsmall groups. Direct them toexamine how Swift early on inhis work creates a sense ofbelievability or credibility forboth his narrator and hiscontent. Pose During Readingquestion 348A to students andfollow up with the MoreDiscussion section attached.Also share the information inHistorical Background section348B to further develop thispoint.Direct students to compare facts

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as a class, using a different colorto record their peers’ additionalcontributions in their notes.Remind students of thedefinition of Juvenalian satire.While Swift has not yetunleashed a full attack on hissatirical targets, he is alreadyshaping the narrative to do so.Use the following sections toexamine Swift’s creation ofsatire in his text so far.You might compare the effect ofGulliver’s serious tone to thatcreated in a comedic duo thathas both a straight man and afunny man. The antics of thefunny man are both anchoredand made funnier by the seriousdemeanor of the comedic man.For a classic example, play a clipof famous comedic duos Abbottand Costello or Martin and Lewis(see TeacherToolsOnline.com forclips).Direct students to compareanswers with their partners orsmall group. Encourage studentsto use another color to add peeranswers they find particularlymeaningful to their originalanswers. They should notchange their original answers.The additional color canevidence active participation fora grade.Remind students that because Gulliver’s Travels is a satire,Swift’s humor is seldom onlywhat it appears to be on thesurface; the surface covers adeeper level of meaning thatreaders are meant to laugh at. Ask How is Juvenalian satiredistinct from Horatian satire? (Ittends to be more pointed as wellas both harsher and moreserious in tone.) Encouragestudents to compare the generaltone of Swift’s satirical attacksto that of Addison’s or Steele’sessays (pp. 334–37) as theyprogress through the rest of thetext .Distribute Teaching Help 3.6,and direct students to section 1.Divide the class into an equalnumber of groups, assigning one

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half of the groups Evil 1 and theother half Evil 2. Instruct Evil 1students to individually skimparagraph 2 to the end of thecolumn on page 353. Evil 2students should skim theremainder of the page,continuing to the end of the firstparagraph on page 354. Instructthem to complete the blanksand describe the controversyfor their assigned evil.Instruct students to worktogether to interpret what Swiftmeans by these controversies.Instruct Evil 1 groups to answerDuring Reading question 353Cand Evil 2 students to answerDuring Reading question 354A.In both cases, the politicalconflict is meant to reflectnegatively on English leaders. Ifneeded, remind students of theinformation in the Readparagraph on page 346.Summarize the remainder of thetale (pp. 354–56) together as aclass by calling on a student tobegin the summary; when yousay “stop,” direct that studentto tag another student tocontinue the summary. Begin atthe last paragraph in the firstcolumn of page 354. Whenstudents are tagged, they cancorrect or add to what hasalready been said beforecontinuing the summary.Varying the length of summarieswill keep students on their toes.Send students back to theirsmall groups to completesection 2 of Teaching Help 3.6.They should leave theassessment of Swift’smisanthropy for now. Make surestudents understand that Swiftuses this Lilliputian governmentto satirically evaluate theirrational politics and politicaltactics of English rule,specifically the rule of George I.He definitely does not feel thatGeorge has the best interest ofEnglishmen in mind.Lead students in a discussion ofSwift’s attitudes toward socialreform.

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As a class, make a list ofGulliver’s character traits.Return to the passage modeledearlier on pages 347–48 andask,“Why would any thinking,reasonable man allow himself tobe kept in ‘captivity’?” Using thenarration that follows, helpstudents to understand thatGulliver continues to be gullible.He naively believes what hesees and hears and neverperceives deeper meanings. Heis bigger, stronger, and possiblysmarter, yet these qualities donot help him. Create aone-sentence description of him.(Example: Gulliver is aneducated, sophisticatedmiddle-class man who hasstruggled to make a living.)Remind students that Swift,even more than many of hiscontemporaries, initiallybelieved that human reason wasthe avenue through whichsociety’s problems could beresolved. If not the source ofthe answers (he was a devoutAnglican), it was the bestmethod for implementing them.In light of these facts, evaluateGulliver from Swift’s point ofview. Direct students to answerthe last questions on TeachingHelp 3.6 to the best of theirability. Then review theiranswers as a class.

Unit 3 Civil Wart oEnlightenmentPart 3 Age ofJohnson

(updated 6/29/19)

Explain how Johnsoninfluenced language andwrit ing.

1 .

Describe three types ofsentimental l iterature.

2 .

Identify characteristics ofliterary criticism in a text.

3 .

Trace an author’s line ofthought in a text.

4 .

Infer authorial tone fromtextual details.

5 .

Analyze an author’sstyle and voice.

6 .

Compose a paragraphcomparing the criticalapproaches of twoauthors.

7 .

Identify characteristics ofbiography in a text.

8 .

Part 3Introduction: Ageof JohnsonSamuel Johnson:from A Dictionaryof the EnglishLanguage, from The Rambler No. 4James Boswell:f rom The Life ofSamuel Johnson,LL.D.Thomas Gray:Elegy Written in aCountryChurchyard

“Shining out ofDarkness” (web link)“Castaway” (web link)“Gilpin” (web link)Johnson’s “A Grammarof the English Tongue”(web link)From A Dictionary of theEnglish Language (weblink)Copies of The AmericanHeritage Dictionary and The Oxford EnglishDictionary (web links)Teaching Help 3.7Dr Samuel Johnson bySir Joshua Reynolds (weblink)Portrait of Samuel

Discuss the positive and negativeaspects of sensibility in literature.Guide students to understand thatthe Bible does teach that fallenhumans are naturally self-seeking(Ps. 14:2–3, 2 Tim. 3:2–4).Nevertheless, Jesus observed thateven people He identifies as evildo good things, such as givinggifts to their children (Matt. 7:11).Sentimental writing can producegood characters that reflectcommon grace. On the other hand,it may ignore the depth of fallenhuman nature and may rely onemotional appeals to motivatereaders to goodness. Biblically,righteous living is possible onlythrough redemption in Christ and

If you have not already, sharethe information in the BuildBackground section (pp.360–61) to help students graspthe significance of Johnson’s Dictionary. Display excerptsfrom Johnson’s Dictionary (seeTeacherToolsOnline.com), anddirect students to variousdistinguishing marks of his workthat were particularly innovativefor his time.Divide students into smallgroups. Direct them to read andsummarize the excerpt from thepreface together. They shouldalso answer During Readingquestion 363C.Direct groups to share their

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biography in a text.Infer an author’spurpose from the text.

9 .

Analyze a work’s use ofcharacterization throughdialogue and anecdote.

10.

Evaluate a perspectiveon death from a biblicalworldview.

11.

Identify characteristics ofsensibility andpastoralism in a work.

12.

Infer a work’s theme.13.Analyze a work’s elegiaccharacteristics.

14.

Analyze a work’sneoclassical elements.

15.

Evaluate an author’sattitude toward deathfrom a biblicalperspective.

16.

Portrait of SamuelJohnson (“BlinkingSam”) by Sir JoshuaReynolds (web link)Excerpt from The Life ofSamuel Johnson, LL.D.by Sir John Hawkins (weblink)Teaching Helps 3.8 and3.9A visualization of thepoem as it is read (videoweb link)Of Stoke Poges Church,the tomb, and themonument to ThomasGray (web links)Virtual tour of acathedral showing burialplaces of the rich andfamous (web link)Music played in acathedral (video weblink)Of the funeralprocession of a famousperson

through redemption in Christ andthe Holy Spirit’s empowerment(Rom. 6:3–4, Ezek. 36:26–27, Heb.9:14).To help students understand whatpeople were reacting to inneoclassicism, discuss both itspositive and negative aspects.Guide students to understand thatthe Bible supports an emphasis onobjective and corporate standardsof behavior, specificallyinstructing Christians todemonstrate love to others byexercising self-restraint (Rom.13:8–10). However, an emphasison conformity to arbitrarystandards of behavior is not a goodway to love others as one’s self(Matt. 23:4). Additionally, logic andreason are important, God-givenabilities (Acts 18:4). But they aremisused if they are emphasized tothe neglect of divine revelation(Heb. 1:1, 2 Peter 1:20–21) or theemotional faculties that God hasalso given to humans (Ps. 100:2, 1Thess. 2:7–8).Distribute the following verses tosmall groups: John 14:1–6; 1Corinthians 15:42, 54; and 2Corinthians 5:1–9. Instruct groupsto analyze their verses anddetermine what God says aboutdeath and how He wants us tothink about it. Ask students fromeach group to share theirinterpretations. Display acombined list.Finish the lesson by focusing onthe first half of Philippians 1:21:“For to me to live is Christ.” Paul issaying that while he lives,everything he is and does isfocused on advancing the cause ofChrist. Fixing one’s eyes on Jesusin this life will enrich life here andalso make the believer less fearfulof death.

Direct groups to share theirsummaries with the class. Makesure they properly understandthe text. (Use the summary onpage 360 as a reference point.)Then guide them in a discussionof the most personal aspects ofJohnson’s style: his tone andvoice. Elicit their answers forDuring Reading question 363C.Note any differences in theirimpressions of Johnson, andmake sure they support theiranswers properly from the text.Next, read through Johnson’sdictionary entries aloud. Instructstudents to write down whichdefinitions they think are meantto be humorous or to subtlyconvey an underlying message.To help them, try to reflectJohnson’s emotional tone inyour own nonverbal cues. Muchof the humor is fairly dry, so donot exaggerate too much. PoseDuring Reading question 364A toelicit their findings.Elicit from students various waysthe word style is used todescribe anything from clothesto music to art. Perhaps usevisuals or audio to demonstratedifferences in style.Review the stylistic featuresmentioned in the Analyzeparagraph (syntax, diction,figurative language, imagery,tone, and voice).Instruct students to analyze thefirst five paragraphs of theDictionary text, identifyingJohnson’s distinguishing style.Divide students into three ormore groups. Instruct one groupto identify instances ofparallelism, another alliteration,and another concrete details.Invite the groups to share theirfindings with the class. Use theanswers to During Readingquestions 363B and 363C assupport. The discussion can bebroadened to the Rambler orreviewed later using Think andDiscuss question 6.Guide students in understandingthe cultural context of Johnson’sliterary criticism. See the answer

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to Think and Discuss question 9for support. Remind studentsthat Johnson was writing whenmedieval romances were nolonger popular.Send students back to theirsmall groups. Direct them tosummarize the text up to thefirst During Reading question(question 366A) and answer thequestion together. Use theattached Close Reading strategyif needed.Lead a discussion of thispassage based on students’answers. Make sure theyunderstand Johnson’s pointsabout the benefits of the newlypopular realistic literature. Thenaddress the last part of thepassage together. Elicitvolunteers to read eachparagraph aloud, summarizingeach as you go. Finally, poseDuring Reading question 366B tomake sure students understandJohnson’s recommendedapproach to objectionableelements in literature.Direct students to answer Thinkand Discuss questions 5 and 9in their small groups, using thetext to support their answers.Discuss their responses as aclass. Then guide them in adiscussion of Johnson’semphasis on Truth andGoodness. Use the answer fromThink and Discuss question 10as a reference point.Remind students of Boswell’sdesire to meet Johnson and ofhis expectations of him. PoseDuring Reading question 368A,using the Close Readingscaffolding attached.Summarize the anecdote usingthe following questions.Distribute Teaching Help 3.7.Assign each student one of thefour remaining anecdotes listedin the chart. Each studentshould quietly reread thisanecdote, summarize itscontent, and begin analyzingwhat it reveals, good or bad, ofJohnson’s character.Lead the class through each

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anecdote. Elicit the relevantgroup’s summary of theanecdote as well as its analysisof what the anecdote revealsabout Johnson. Use the key forTeaching Help 3.7 to referencesome possible answers. Makesure to cover the information inDuring Reading questions 372Aand 372B at the relevant points.To pursue this discussion, createand display a T-chart: label oneside flattering and the otherunflattering. Call on studentsfrom each group to sharecharacteristics of Johnson andassign them to the flattering orunflattering columns. Encouragediscussion when interpretationsseem to conflict, and build onprevious contributions.Encourage individuals to explaintheir rationale when necessary.Be sure to reference somepossible answers for DuringReading question 370A if youneed a guide.Divide students into sevengroups and distribute TeachingHelp 3.8. Assign each group oneof the seven sections of thepoem represented in the chart.Direct them to read their sectiontogether and decide what itsmain topic is. They shouldconsider it in context of the restof the poem’s thought as well.Ask each group to present thetopic of its section. They shouldsupport their decision withtextual details. Guide them to acorrect understanding of thesetopics as necessary. As theylisten, students should fill outthe other groups’ sections.Direct them to distinguishbetween their own ideas andthose of the other groups bywriting them in different colors.Direct the students to worktogether in their groups to fi l lout the second column of theirrow, identifying significantdetails (images, figurativelanguage, allusions, etc.) thathelp them infer the author’sdeveloping themes. Instructthem to use During Reading

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questions 376A, 376C, or 377Fto direct their efforts ifapplicable to their sections.Next, briefly review with themthe signs of neoclassicism,sensibility, and romanticismnoted in the Analyze paragraphon page 374. Finally, theyshould fill out the third column,noting any signs of theseinfluences they see in theirsections.Display images of grand funeralprocessions (e.g., of famousfigures such as John F. Kennedy,Martin Luther King Jr., PrincessDiana, Winston Churchill) toillustrate the truth of lines33–35: death is the commondestiny of the rich and lowlyalike. Perhaps display a famoustomb to il lustrate line 36: “Thepaths of glory lead but to thegrave.”Pose During Reading question376C to collect all the instancesof personification in lines 29–44and to reiterate the theme ofthis section. Be sure studentsunderstand the personificationof urn (see gloss 8) and bustand the metaphor in mansion.Gray is using figurativelanguage to say that neither theurn holding a person’s ashes nora bust of him can call “breath”back into “its mansion” or theplace in which it lived: the body.Point out that provoke in line 43means “arouse” and that theanswer to both rhetoricalquestions is obviously no. Directstudents to fill out the sectionconcerning theme on theircharts for this part of the poem.Discuss through elaboratefigurative language withstudents to clarify meaning,pose During Reading questions377D and 377E, and discussGray’s neoclassical style anddiction. Reference the answersto Think and Discuss questions 1and 5a if helpful.Instruct students to work with apartner to build on DuringReading question 377F and touse Think and Discuss questions

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4 and 6 to discover the keytheme of the poem, whichespecially rises to the surface inthis section. Solicit answers andguide students towardunderstanding this theme:everyone desires and deservesto be remembered. Elicit fromstudents how the poem’s detailsconvey this theme.

Unit 3 Civil Wart oEnlightenmentPart 4 Voicesfrom theOutside

(updated 6/29/19)

Recall six writers whowere voices outside themainstream Englishculture from the late1600s to the late 1700s.

1 .

Understand some effectsthese voices had onbroader British culture.

2 .

Identify allegoricalelements in a text.

3 .

Infer an author’spurpose from historicalcontext and textualdetails.

4 .

Interpret allusions in atext .

5 .

Analyze a text for itsallegorical meaning.

6 .

Compose an allegoricalsketch.

7 .

Identify a hymn’s stanzaform, meter, and rhymescheme.

8 .

Compare the subjectsand purposes of twotexts.

9 .

Analyze a hymn’sthemes.

10.

Create a hymn incommon meter.

11.

Apply historical andliterary context to a work.

12.

Analyze an author’s useof point of view.

13.

Analyze a work’s maincharacter, including theauthor’s tone towardthat character(sympathetic orunsympathetic).

14.

Evaluate how an authorreflects or differs fromcultural attitudes andbiblical truth.

15.

Identify rhetoricaldevices and sensorydetails in a text.

16.

Part 4Introduction:Voices from theOutsideJohn Bunyan: from The Pilgrim’sProgressIsaac Watts andCharles Wesley:“Our God, OurHelp in Ages Past,”“Behold the Man!”Aphra Behn: from Oroonoko, theRoyal SlaveOlaudah Equiano:from The Life ofOlaudah Equiano,or GustavusVassa, the AfricanWilliamWilberforce: from1789 AbolitionSpeechUnit 3 Parts 3 and4 Test ReviewUnit 3 Parts 3 and4 Test

Tomb of Isaac Watts inBunhill Fields (web link)Pictures or video ofQueen Elizabeth II’s1954 royal tour (weblink)Teaching Help 3.10Psalter version of Psalm90 (audio web link)Psalter version of Psalm90 (web link)“Our God, Our Help InAges Past” (audio weblink)“Behold the Man!”(audio web link)Teaching Help 3.11A modern map withNigeria and Suriname(web link)A Bible for each studentTeaching Helps 3.12 and3.13Middle Passage (videoweb link)Of both authors (weblink)From The Life of OlaudahEquiano (audio web link)Excerpts fromWilberforce’s 1789Abolition Speech (audioweb link)

Divide students into pairs. Directthem to answer During Readingquestion 386A. Then review theiranswers as a class, making surestudents understand the mainpoints. Stress the truthsconcerning salvation depicted inChristian’s discourse withGood-will.Next, direct student pairs to findScripture verses to justify thesetruths. Discuss their answers as aclass. These will vary, but thefollowing are possible answers:John 3:16 (“whosoever believeth in[Christ] should not perish, buthave everlasting l i fe”); Matthew7:14 (“strait is the gate, andnarrow is the way, which leadethunto life”); and Romans 6:23 (“butthe gift of God is eternal lifethrough Jesus Christ our Lord”).Bunyan depicts a differencebetween the pilgrims and thoseliving in Vanity Fair. Ask Howrealistic a difference is therebetween the dress, speech, andvalues of modern Christians andthe world? (Answers will varybased on the students’ differingexperiences and observations.Obviously there will be subjectivityand generalities. Encouragestudents to be thoughtful and toback their opinions with evidence.Caution them to avoid beingjudgmental or hurtful.)Have you ever personally beenencouraged or challenged by theexample of someone’s suffering?(Answers will vary.) Point out thepower of positive example inBunyan’s narrative—Hopeful leftVanity Fair and said that otherswould follow. Encourage studentsto consider the potential power oftheir own example. Consider the

Summarize together the firstpassage from The Pilgrim’sProgress (pp. 385–86). Elicitfrom students their ideas aboutwhat the text might meanallegorically. Ask students whoalready know the work well notto contribute yet. Once studentshave offered some ideas, allowall your students to participatein analyzing the text’s details.Begin with During Readingquestion 385A to identify somebiblical allusions. Then use theMore Discussion sectionattached to note possibleautobiographical allusions aswell. Point out that the “greatburden” on the man’s backalludes to Psalm 38:4: “For mineiniquities are gone over minehead: as an heavy burden theyare too heavy for me.”Note that the following section isan excellent opportunity tomake clear for students the planof salvation. Bunyan is clearlyallegorizing the experience ofsalvation and the truth that it islife changing. This passage isalso a wonderful reminder tothose who have long been savedof the marvelous transformationthat salvation brings in abeliever’s heart. Make the mostof the opportunity to applyBunyan’s teaching to the lives ofstudents.Consider Bunyan’s depiction ofsalvation in the context of hisreligious times.Bring students back together.Construct a summary of thepassage using their work. Thenask for a volunteer from eachgroup to share the groups’answers for the During Reading

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details in a text.Ask questions to identifya work’s use of rhetoricalappeals.

17.

Analyze an author’s useof point of view, sensorydetails, and rhetoricaldevices for persuasivepurposes.

18.

Evaluate a text’s use ofpersuasive appeals froma biblical perspective.

19.

their own example. Consider thepower of example bequeathed toChristendom through Foxe’s Bookof Martyrs . Discuss with students the powercultural attitudes have over peopletoday. Draw on examples fromcurrent events, history, the media,and other works of literature. AskWhat guidance does Scripture giveabout how believers should test orjudge cultural attitudes?Instruct students to use theirBibles (or have the versesdisplayed) to address Think andDiscuss question 10. Directstudents to read a passage,determine its message, and recordthe message on paper. By doingthis one question at a time,students should find it easier todraw a correct conclusion.

answers for the During Readingquestions. Before you beginworking through thesequestions, though, pose DuringReading question 387D toidentify the allusion at theheart of this section.Inform students that Watts usedfamiliar language to which thecommon man could respond.His hymns were often written tobe sung after his sermon, sothey often express more of acongregational response than apersonal response.Watts did not oppose singingpsalms. In fact, he wrote psalmsettings that brought out thefulfillment of the psalm in Christand other New Testament truths.Remind students of the metricalversion of Psalm 90 they listenedto in the beginning of thelesson. Play a recording ofWatts’s “O God, Our Help inAges Past.”Remind students of how to markmeter in a poem. DistributeTeaching Help 3.10. Instructstudents to annotate themetrical stresses and the rhymeschemes of both hymnselections.Reading or singing the hymnsaloud helps the reader to feelthe rhythm and movement thehymnist has intended. Play bothhymns (seeTeachersToolsOnline.com).Instruct students to follow thewords in their text as they listen.Direct students to find partnersand briefly compare thestructures of the two hymns andtheir effects in each. Thestudents should note themetrical patterns as well.Encourage them to read bothhymns aloud as needed,emphasizing the sentencestructure and meter.Lead a discussion exploring theeffects on each hymn’s rhythmand movement created by itsstructure.Display a map that contains thewest coast of Africa and the eastcoast of South America (see

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TeacherToolsOnline.com). Pointout Ghana and Nigeria (theplaces on which Behn may havemodeled Coramantien,Oroonoko’s homeland) andthen point out Surinam (theplace to which Oroonoko istaken when he is enslaved). Tellstudents that during Behn’s day,Surinam was infamous for itsslave trade, mostly becauseslaves were desired to work thevery profitable butlabor-intensive crops grownthere, such as sugar andtobacco. Later, Olaudah Equianowould tell his own story of beingsold as a slave, and his factualnarrative along with theimpassioned speeches ofWilberforce would finally begineffecting change for slaves inthe British Empire.To help students understand theimportance of the points of viewBehn uses, ask them to thinkabout experiences they havehad in reading works writtenfrom either first-person orthird-person point of view.Read the first two paragraphs ofthe story aloud. To promptstudents to discuss theirreactions to the narrative’spoint of view, ask them toanswer the questions in MoreAnalysis section 396A in smallgroups. Ask students to sharetheir opinions about thenarrator’s believabil i ty.Address During Readingquestion 396B as a class so thatstudents can discuss Behn’spurpose in using first person.Then ask students to refer to thelesson on the rise of the novel(p. 332) in order to apply Behn’sliterary context.Ask students to read DuringReading question 400A. Directthem to skim the text in order toidentify the predominant pointof view. They should find wherethe narration switches to thirdperson. After students identifythe shift, discuss their responsesto 400A.Ask students to choose partners

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with whom to work. Direct themto draw a T-chart with firstperson on the left side and thirdperson on the right. Read tostudents the More Discussionsection attached to DuringReading question 400A. Afterallowing time for students todiscuss the answers and to fill inboth parts of the chart, compareanswers as a class.Briefly discuss tones of variousauthors (e.g., Spenser’s tonetoward Catholicism) studied inthis course. Ask students todiscuss their favorite authorsand the authors’ tones towardvarious characters and topics.Distribute Teaching Help 3.11.Instruct students to work ingroups and to complete thefirst two rows of the graphicorganizer in order to infer thenarrator’s tone toward thecaptain and toward Oroonoko.Encourage students to includespecific textual details in eachrow. Walk around the classroomto offer support.Follow up on students’discoveries of textual evidencefor Behn’s tone by addressingDuring Reading question 397Cas a class.Make sure students know thatBehn’s attitude toward slavery isnot a cut-and-dried opinion.Even though Behn is antislavery,there are problems with howshe presents Oroonoko. Behnboth reflects opinions of her dayand criticizes the prevalentcultural attitudes. Ask studentsto put themselves in Oroonoko’sshoes for a moment and to readthis story through his eyes. Askstudents to write a paragraphfrom Oroonoko’s point of viewexplaining how the protagonistwould have preferred his storyto have been written. Challengestudents to mention specifictextual details from the excerptin their paragraphs and tosuggest changes to those details.Split the class into two groups.Ask one group to look up James3:9–10 and ask the other to look

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up 1 Samuel 16:7. Ask thegroups to discuss how theirrespective passages relate toand help believers evaluate bothBehn and the cultural attitudesof her day. After allowing timefor discussion, ask severalspeakers from each group tosummarize the groups’conclusions. Discuss thestudents’ conclusions as a class.Refer to the answer to Think andDiscuss question 7 in order toguide this discussion.Ask students to complete thelast row of Teaching Help 3.11 toexplain how Behn either reflectsor rejects her era’s culturalattitudes in her depictions of thecaptain and Oroonoko.Ask students to imagine thattheir parents have asked fortheir input on where the entirefamily should go on vacation.With a destination in mind,students should decide how theywill convince their parents tochoose their idea. Inform themthat they wil l probably usesome form of persuasion to tryto convince their parents.Instruct each student tocarefully read the secondparagraph on page 406. Toillustrate how these appeals lookin a text, work through DuringReading question 406B together.Play for students a brief audioclip from The Life of OlaudahEquiano (seeTeacherToolsOnline.com) orread the selection out loud,directing students to followalong in their texts.Noting the connotative wordsstudents wrote down, challengethem to determine the types ofappeals Equiano uses them tomake in the two passages thestudents examined. Pose DuringReading questions 405C and407D and use their answers toguide the discussion. Becausesome rhetorical devices aremore effective when deliveredverbally, you may wish to readaloud the last paragraph asstudents listen carefully and

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follow along.Finally, examine with studentshow Equiano used genre andstyle to increase the power ofhis persuasion. Remind studentsthat one of the features of anautobiography is the point ofview.Review the reasons that Equianowould have for feeling sostrongly about the abolition ofslavery. Obviously a majorreason is that he himself hadbeen a slave.Instruct students to examine thefirst paragraph of Wilberforce’sspeech. In it he captures hisaudience’s attention by his useof a particular rhetorical device,and he also states the thesis forhis speech.Instruct students to read thefirst column on page 409 up toDuring Reading question 409D.They should look in this passagefor a rhetorical devicementioned in the Analyzeparagraph (p. 403). Pose theDuring Reading question todiscuss the effects of this deviceon the audience.Instruct students to recordsensory details that they hear inthe excerpt on Teaching Help3.12 (Wilberforce section,question 2). They shoulddetermine which sensesWilberforce appeals to and howthose words help refute Mr.Norris’s false account of theMiddle Passage.Students should compare anddiscuss responses with theirpartners. After the students talkin pairs, ask them to share theirconclusions with the rest of theclass. Pose During Readingquestion 410A. Use its answer asa guide for discussion.Instruct students to turn to page409, read the first full paragraphin the first column, and followalong in the second columnwhile listening to the excerpt (orread the excerpt out loud).Direct them to look for theanswer to 409E as they listen,determining the two types of

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appeals Wilberforce uses. Elicittheir responses.Encourage students to read withtheir partners the finalparagraph on page 410. Ask thestudent pairs to discuss 410B toidentify the type of persuasiveappeal used. Instruct pairs toshare their conclusions with theclass.Ask students whether they findEquiano’s narrative andWilberforce’s speech believable.Challenge them to support theiranswers with specific reasons.Furthermore, invite students tostate whether they believe thetwo selections adhere to Truthand support Goodness and toexplain why. Refer to the answerto Think and Discuss question 9to support discussion.



Quarter 4

Unit 4Romanticism toVictorianismPart 1 Signs ofChange

(updated 6/29/19)

Recognize historicallysignificant people,forces, and eventsframing the literature ofromanticism andVictorianism.

1 .

Understand some broadconnections betweenthese and the era’sliterary trends andthemes.

2 .

Identify four writers whorepresented thetransition fromneoclassicism toromanticism.

3 .

Describe features ofromanticism il lustratedin Burns and Blake.

4 .

Describe features ofneoclassicism andromanticism il lustratedin Wollstonecraft andAusten.

5 .

Interpret a poem’sdialect.

6 .

Combine comprehensionstrategies to understanda poem’s content.

7 .

Unit 4Introduction:Romanticism toVictorianismPart 1Introduction: Signsof ChangeRobert Burns: “ToA Mouse, OnTurning Her Up inHer Nest with thePlough,” “A Red,Red Rose”William Blake:“The Lamb,” “TheTyger,” “London”MaryWollstonecraft:f rom A Vindicationof the Rights ofWomanJane Austen: from Pride and Prejudice

Recording of romanticinstrumental music(audio web link)Of romantic landscapepaintings (web link)Of child laborers (weblink)A recording of Britishdialects (audio web link)An illustration ofNewton’s cradle (weblink)Materials for thelesson’s gameCard table on which arewritten characteristics ofneoclassicism andromanticismTwo larger cards labeled neoclassicism and romanticism respectivelyTeaching Help 4.1A recording of “To aMouse” being read(audio web link)A recording of “A Red,Red Rose” being sung(audio web link)Teaching Help 4.2

Use the following ideas to combatthe unbiblical parts of thesephilosophies.First, distinguish between idealismas a philosophical concept and itsmore common meaning. Weshould all be idealists in thegeneral sense, believing in moraland spiritual ideals that can berealized by divine grace. Butphilosophical idealism is biblicallyproblematic: proposing that humanminds cannot reliably interpret theworld ignores the Creator-God andHis goodness. The same Creatorwho made the human mind madethe world in which it operates.Naturally, a degree of harmonyshould exist between them. Tomake the world unknowable to itscreatures seems inconsistent withGod’s loving character. Indeed, Heteaches that creation reveals theCreator (Rom. 1:20), so the humanmind must be able to rightlyperceive the world.Christians do recognize that themind is finite and, in a fallen world,fallible. They also agree with the

Play a recording of “To a Mouse”(see TeacherToolsOnline.com).Instruct students to follow alongin the text as they listen. Next,read the poem aloud yourself, orask a volunteer to attempt it.Stop at the end of each stanzaand refer to the glosses to aidstudent understanding. Askdifferent students to paraphrasethe meaning of each stanza asyou progress.Divide students into smallgroups and distribute TeachingHelp 4.1. Review the definitionof dialect (see page 428). Directstudents to answer DuringReading question 429B to starttheir analysis of the poem’smeter. They should completeanalysis together using thehandout. Direct them to notethe rhyme scheme as directedin the handout. Review theirresults as a class, correcting andexplaining as needed.Play a recording of “A Red, RedRose” being sung (seeTeacherToolsOnline.com).

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Analyze a poem’s use ofimagery, meter, andfigurative expression.

8 .

Create a poem based ona model text.

9 .

Identify sensory detailsin a text.

10.

Apply historical contextto understand a text.

11.

Compare and contrasttwo texts’ themes.

12.

Analyze a poem’s use ofsymbol and rhetoricaldevices.

13.

Evaluate an author’sworldview from a biblicalperspective.

14.

Identify various kinds ofrhetorical appeals in atext .

15.

Trace an argumentthroughout a text.

16.

Analyze how a text’scontent and style reflectthe transition betweenneoclassicism andromanticism.

17.

Evaluate theeffectiveness andtruthfulness of a text’sarguments.

18.

Identify key dialogue in atext .

19.

Infer character traits andmotivations from detailsin a text.

20.

Analyze a work’s use ofwit (sarcasm,understatement,repartee) and itsconnections tocharacters and themes.

21.

Analyze how a novelreflects the transitionbetween neoclassicismand romanticism.

22.

Adapt a narrative into adramatic scene.

23.

Poem “Ah! Sun-flower”(web link)“Infant Joy” (web link)Of Blake’s engravings(web link)Of “The Lamb,” “TheTyger,” and “London”(audio web links)Settings of “The Lamb”and “The Tyger” (videoweb links)Drawing materials foreach studentTeaching Helps 4.3 and4.4Recording of Pride andPrejudice (audio link)Copies of Chapters 1–4of Pride and Prejudice(web link)Template (web link)

philosophical idealist that purereason or empiricism cannot leadto ultimate Truth. But they rejectthe idea that all knowledge is thecreation of the mind, primarilybecause the most foundationalknowledge is revealed in Scripture.Note that transcendentalists werecorrect when they posited thathumans are divided fromthemselves, from others, and fromthe natural world. But, accordingto the Bible, the source of thisdivision is their being disconnectedfrom God by transgressing His law(the Fall). This break resulted inspiritual death and God’s curse onthe formerly good (perfect,complete) world. Only by beingreconnected to the source of allreal good, the God of the Bible,can humans be made whole again.God’s plan for this reconnection isthe gospel: saving faith andsubmission to the Holy Spirit’swork leads to transformed lives.Does Burns make a valid pointabout human life in his theme?(Yes. Human plans often go awry.And humans also tend to both fretabout the future and regret thepast.) Ask How can a Christian viewfears for the future and regretsabout the past? (For the future,Christians know that God will bewith them in trials, that Hepromises to work hardships forgood, and that they eventually willbe at peace with Him in heaven.These truths can comfort ourhearts. For the past, God offersforgiveness for sins if we repentand trust Christ. He also gave thewonderful promise to Israel that Hecan “give unto them beauty forashes” and “the oil of joy formourning” [Isa. 61:3]. The same istrue for believers today.)Follow up on the discussion ofsymbolism in “The Lamb” byaddressing a Christian’s responseto Blake’s view of human nature. Ask How should Christiansrespond to Blake’s idea thathumans are innocent at birth andthen corrupted by society (seeBuild Background section)? (Babiesinherit a sin nature from their

Instruct students to follow alongin the text as they listen. Reviewballad stanza and see BuildBackground for relevantinformation.Display several of Blake’sengravings (seeTeacherToolsOnline.com). Usediscretion when choosing whichones to display. Tell studentsthat three of Blake’s engravingsare also included on pages434–36.Remind students that Blakeused an implicit symbol to helpconvey his theme in the poem.Consider this symbol together.Divide students into pairs andinstruct them to answer DuringReading question 434B. Thencompare their answers as aclass, guiding them toward thecorrect answer as needed.Encourage students to considermore implications of the symbolof the lamb with the questionsin the More Discussion sectionattached to 434B.To scaffold students towardanalyzing the tiger’s symbolism,address During Reading question435C as a class. Encouragestudents to use textual supportin their answers and to recordtheir answers in the handoutchart.Direct students to use theiranalyses to summarize thesimilarities and differencesbetween the two poems.Address During Readingquestion 435D as a class.Play the musical versions of“The Lamb” and “The Tyger”(see TeacherToolsOnline.com forthe links). Direct students tofollow along with the texts ofthe poems as the recordings areplaying. Ask students whetherthey think these settings fit themessages and themes of “TheLamb” and “The Tyger.”Play a recording of “London”(see TeacherToolsOnline.com fora recording). Ask students tomark sensory details as theylisten to the poem.Ask students to work in pairs to

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parents. Scripture says there is noone righteous except for Christ.Though society can have acorrupting influence, it is reallythe heart of man that is at the rootof the problems in the world.)Tell students that Blake is implyingthat good and evil are bothnecessary and proceed from thesame source. Compare thisworldview to 1 John 1:5. Askstudents how the philosophy ofdualism contradicts this passageand other scriptural teaching onGod’s nature.Christian writers have refuted thisunbiblical idea explicitly (e.g.,Lewis’s Mere Christianity) andwith imaginative retellings ofman’s fall (e.g., Lewis’s Perelandra). What if man hadnever fallen? We do not know whatwe would be enjoying now if wehad always walked with God inobedience. It is unbiblical thinkingthat looks at God and reckons thatsomething must balance Hisinfluence out. The Bible teachesthat God is completely supremeand without an equal orcounterpart (Isa. 44:6; 45:5–7). Heis perfect (meaning both pure andwhole), and man is in no positionto judge Him (Rom. 9:20). He, onthe other hand, is over and aboveus and judges the nations (Ps.2:10–12). Unfortunately, peopleforget God’s just nature, and theyalso forget that in Him is nodarkness at all (1 John 1:5).Evil exists in the world because ofman’s disobedience to God (Rom.5:12, 19). Also, Satan, anothermajor instigator of evil, is notGod’s equal. Satan too is a createdbeing who chose disobedience(Ezek. 28:17). He is inferior to God.With our own limited perspective,it is easy to forget our world isunder the full effects of the Fall.So we do not always realize thatwhat we see is not normal! Goddid not design the world broken.When He finished His creation, Hecalled it all good!Guide students to recognize a fewmore problems as well as truthsthat surface in Wollstonecraft’s

mark all the sensory details theycan find in “London.” Recaptheir search for sensory detailsin the poem using DuringReading question 436A.Instruct students to create adrawing that represents one ofthe images of the poem. Thendirect pairs to compare theirdrawings and discuss theconnections between the poemsand the drawings.Remind students thatWollstonecraft is a transitionalfigure whose works reflectaspects of neoclassical andromantic thought. Review someof the characteristics ofneoclassicism and romanticismdiscussed in the unitintroduction (pp. 416–17) andPart 1 introduction lesson (p.426). Direct students to look forways in which she demonstratesneoclassical and romantic ideasas they study her work.Divide students into smallgroups. Direct them to answerDuring Reading questions 439E,443C, and 443E, bearing in mindthe characteristics ofneoclassical and romanticwriting. Use More Analysis 442Aand the Visual Analysisquestion on page 442 as youdiscuss their responses as aclass. Use the answer to Thinkand Discuss question 6 tosupport your discussion.Remind students of therhetorical appeals they learnedabout in the Equiano/Wilberforcelesson (pp. 402–10) and discussWollstonecraft’s strategic use ofthem using During Readingquestions 439C, 441B, and MoreAnalysis 442B.Divide students into smallgroups again. Direct them to doclose reading and answer DuringReading question 441D, usingparaphrasing as needed. Reviewtheir responses, using theanswer to Think and Discussquestion 5 to support yourdiscussion.Remind students thatWollstonecraft, like Pope, was a

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thinking. She at best overstatedher case in asserting that genderroles are merely social constructs.It is true that they are defineddifferently from culture to culture.Women in Wollstonecraft’s timehad a particularly constrained roleassigned to their gender insociety. However, the Bible doesassert that there are some coregender differences rooted in theCreation order (Gen. 2:20–24;3:16–19; Eph. 5:22–32; 1 Tim.2:11–14).Additionally, note that, as a deist,Wollstonecraft favors only thoseChristian doctrines that she findsreasonable (clearly a problem). Forinstance, she rejects the Bible’steaching that Eve was createdfrom Adam’s rib. But she doesagree with a person’s creation inthe image of God. As she notes,since every man and woman iscreated in the image of God, menand women are morally equal andpossess an equal capacity toreason. As a result, Wollstonecraftargues, they should also share anequal status before the law. Notonly that, but they should alsoparticipate equally in societythrough work and other vocations.Wollstonecraft is right to affirm thefundamental equality of male andfemale both in creation and inChrist (Gen. 1:26–28, Gal. 3:28).Since God commissioned womenas well as men to rule over theearth and to serve in the church,Wollstonecraft is right to argue forthe education of women. Herargument that a woman be welleducated in preparation forfriendship in marriage and for thebenefit of society is in keepingwith a biblical worldview.

deist and although highlyconcerned with morals insociety, took issue withsignificant truths of Scripture.Nonetheless, she did make avaluable contribution to theargument that women shouldbe well educated.Use the Evaluate paragraphquestions to prompt students toexamine the validity of herpoints and the effectiveness ofher persuasion. Ask How wouldyou describe the word virtue,based on its common usage?(Answers will vary.) Use MoreAnalysis section 440A andDuring Reading question 441C todiscuss its historic use in Britishliterature as well asWollstonecraft’s use of the word.Use the answer to Think andDiscuss question 4 as a guide.Explain to students that theopening line of Pride andPrejudice is one of the mostfamous in all of literature. UsingTeaching Help 4.3, read tostudents opening lines fromwell-known British works to seewhether they can guess whichbook each is taken from.Discuss with students themeaning of Pride and Prejudice’ sopening line. Ask Why do youthink the opening is so famous?(Answers wil l vary but mayinclude the idea that thesentence is clever, witty, and abit sarcastic.)Instruct students to draw aT-chart, labeling the first columnneoclassical and the secondcolumn romantic. Refer them topage 321, which gives anoverview of neoclassicalcharacteristics, pages 416–17and 455, which introduceromantic characteristics, andthe Analyze section on page445, which discusses bothneoclassical and romanticelements. Instruct students towork together in pairs to list thecharacteristics of the two literarymovements.Invite students to think aboutone of their good friends.

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Encourage them to rememberwhen they first met that friendand how they formed theiropinion of this friend.Refer students to page 88 of thetext to review definitions ofdirect and indirectcharacterization. Particularlynote that Austen uses dialogueas a means of indirectcharacterization.Choose three volunteers whoread well to read Chapter 1aloud. Assign a reader for thenarrator, a reader for Mrs.Bennet, and a reader for Mr.Bennet. Direct the class tofollow along in their texts,focusing on what each characteris like.Instruct students to draw a Venndiagram to compare andcontrast Mr. Bingley and Mr.Darcy as they are revealed inChapter 3. Refer students toDuring Reading question 451C toprovide guidelines. Then discusswith the class their similaritiesand differences.Direct students’ attention to theVenn diagrams they prepared intheir comparison and contrast ofMr. Bingley and Mr. Darcy. Askstudents in what ways Mr.Bingley and Mr. Darcy differ.Then ask them to silently readthe top half of page 452 to notefurther actions and dialogue.Refer to During Readingquestion 452A and ask studentsto conclude how Bingley andDarcy are foils to each other.Instruct each student to make aT-chart with Mr. Bennet and Mrs.Bennet as headings. Askstudents to list the differencesbetween these two charactersafter re-examining Chapter 1and reading Chapter 2.Lead a discussion on students’answers. Explore how thesecharacters become foils for eachother. During Reading question449C provides a good startingpoint. Ask Which character doyou find more sympathetic?Discuss with students theenjoyment people get from witty

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or sarcastic statementsReview with students thematerial they heard read fromChapter 1 of the novel, elicitingfrom them parts they foundhumorous. Refer to both DuringReading question 446A andMore Analysis section 446B toguide discussion, particularlyabout the Bennets’ relationship.Show students how to find ironyin a text. Read the first twosentences of Chapter 3 aloud. Ask Which part of this sentenceshows verbal irony? (“He eludedthe skill of them all” is anexample of irony.) Elicit fromstudents the humor of thatstatement in the context of thesentence.Discuss the differences betweennovels and play scripts. Elicitfrom students that althoughboth have characters, plots, andsettings, the main differencebetween them is formatt ing.The novel is basically written inparagraph form, while a playscript is mostly dialogue.Remind students that one wayto learn to understand a textbetter is to annotate it.Annotating techniques includeactions such as circling,underlining, highlighting,outlining, and jotting importantnotes in the margin of the text.Instruct students to selecteither Chapter 1, 2, or 3 for theirown annotations.Show students how to annotatea text in order to adapt it to aplay script. Display for studentsa page from Chapter 4 of Prideand Prejudice. Examine the textwith your class, and thenannotate the text for charactertraits, emotions, andinterchanges. Mark charactermovements as well.Access a public domain copy of Pride and Prejudice (seeTeacherToolsOnline.com for alink). Provide the appropriatechapter copies for students toannotate. Instruct them toannotate their selection toprepare for script adaptation.

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Instruct students to adapt theirtexts into scripts. They shouldrefer to Think and Discussquestion 10 for help. Perhapsprovide students with atemplate for play scripts (seeTeacherToolsOnline.com for alink). You may wish to useTeaching Help 4.4 as a rubric toassess this assignment. If so,make sure to distribute it tostudents beforehand so thatyour expectations for the projectare clear.Make these performances agroup assignment if time allows.Divide students into groups anddirect each group to film theirscript. Allow students to dividethe work among themselves.Some may choose to createcostumes or props, others willact, and others will block theaction and actually film thescene. Play the final results forthe whole class. Vote on thebest and publish it on the classor school website.

Unit 4Romanticism toVictorianismPart 2 TheMajorRomantics

(updated 6/29/19)

Identify common genresfound in romantic poetry.

1 .

Contrast romantic poetryand neoclassicall iterature.

2 .

Explain the major tenetsof the philosophy behindromantic l iterature.

3 .

Identify characteristics oflyrical ballad in a text.

4 .

Compare texts toillustrate differences inpoetic styles.

5 .

Analyze a romanticpoem’s use of naturalimagery.

6 .

Analyze a text’s use ofromantic style (diction,enjambment, caesura,imagery).

7 .

Evaluate an author’sromantic ideas in light ofScripture.

8 .

Identify characteristics ofballad form in a work.

9 .

Analyze a work’s use ofimagery and sounddevices.

10.

Analyze how a work’s11.

Part 2Introduction: TheMajor RomanticsWill iamWordsworth: “Iwandered lonelyas a cloud,” “Theworld is too muchwith us,” “LinesComposed a FewMiles AboveTintern Abbey”Samuel TaylorColeridge: TheRime of theAncient MarinerGeorge Gordon,Lord Byron: fromCantos III and IV of Childe Harold'sPilgrimage, “SheWalks in Beauty”Percy ByssheShelley:“Ozymandias,”“England in 1819,”“Ode to the WestWind”John Keats: “To

Teaching Helps 4.5 and4.6Art in the IndustrialRevolution (web link)I Wandered Lonely as aCloud (children’s bookpublished by LobsterPress) or images of LakeUllswaterTeaching Helps 4.7 and4.8Of The Rime of theAncient Mariner (audioweb link)Teaching Help 4.9Of Childe Harold’sPilgrimage (audio weblink)Canto IV, lines 178–84(audio web link)Movement and sounds(video web link)“She Walks in Beauty”(audio web link)Unlined paperCopies of stanzas 178and 179 for studentsand for display orannotation

Wordsworth often puts nature andculture in opposition, seeing theformer as pure and the latter ascorrupt. The Bible teaches thatnature can reveal God whenviewed rightly and that culturescan contain wisdom (Rom. 1:20,Acts 7:22). But nature, like culture,is broken and cannot serve as theguardian of our hearts. WhenWordsworth chose his guide to besomething other than Scriptureillumined by the Holy Spirit, hedecided his own wisdom wasbetter than that of the God of theAges. In this way Wordsworth isworshiping the “creature morethan the Creator” (Rom. 1:25).By this point in the lesson, youhave probably identified multiplebiblical ideas, symbols, and truths. Ask What biblical concepts haveyou noticed? (Answers will varybut may include such topics as sin,guilt, repentance, andredemption.)Instruct students to make a T-charton the back of Teaching Help 4.8.They should outline the Mariner’s

Ask students to read the poemsilently and then elicit asummary of the poem.Ask a student to explain what ismeant by the “inward eye,”based on the information givenin the Unit 4 Part 2introduction. In order to helpstudents analyze the romanticcontent of the poem, focus theclass’s attention on the fourthstanza. Address During Readingquestions 458A and 458B.It is useful to compareWordsworth’s poem to a journalentry written by his sisterDorothy. Wordsworth dependedon Dorothy’s memories as hepenned “I wandered lonely as acloud” and several other poems.Distribute Teaching Help 4.5.Ask students to work in smallgroups to annotate the text ofDorothy’s journal entry withsimilarities and differences to “Iwandered lonely as a cloud” andthen answer the questionsincluded on the handout. Reviewstudents’ work as a class.

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Analyze how a work’scharacters and symbolssupport its themes.

11.

Examine a work and itsthemes for romantictraits.

12.

Evaluate an author’sromantic perspectiveagainst biblical truth.

13.

Identify figurativelanguage andSpenserian stanza in apoem.

14.

Draw conclusions abouta work’s use of thesublime.

15.

Analyze a text’sdevelopment of aByronic hero.

16.

Evaluate an author’sconcept of goodness asrevealed in hischaracters.

17.

Identify characteristics ofan ode in a text.

18.

Apply historical contextto understand a text’sconcerns.

19.

Infer an author’s toneand theme from textualdetails (e.g., imagery,symbol).

20.

Analyze a poem’s use ofstructure (e.g., terzarima) to support its ideas.

21.

Evaluate an author’sromantic worldview froma biblical perspective.

22.

Identify examples ofsound devices in a text.

23.

Examine how a text’sstructure enhances itsmeaning.

24.

Analyze how a poem’simagery and sounddevices help developtheme.

25.

Analyze how a textreflects literaryromanticism.

26.

Evaluate an author’saestheticism from abiblical view of Truth andBeauty.

27.

Identify key genrefeatures of Frankenstein.

28.

Explain the novel’sthemes and romantic

29.

John Keats: “ToAutumn,” “Ode ona Grecian Urn,”“When I havefears that I maycease to be”Longer Works ofLiterature

Mary Shelley:Frankenstein


annotationTeaching Help 4.10Portraits of George IIIand George IV (web link)Of autumn wind (audioweb link)Of “Ode to the WestWind” (audio web link)Copies of the poems forstudent annotationsThree different coloredpencils or highlightersfor each studentTeaching Help 4.11Recordings of “ToAutumn” and “When IHave Fears” (audio weblinks)Of nature sounds and ofa traffic jam (audio weblinks)Image of a Grecian urn(web link)Of the Parthenon Frieze(web link)

They should outline the Mariner’scharacter development from abiblical worldview, listing on theleft the behaviors that are biblicaland on the right, those that areunbiblical.Discuss students’ answers as aclass. Guide them to understandthe following ideas: The storyrightly shows that sin bringsdevastating guilt and requiresrepentance for redemption.However, Coleridge replaces Godwith nature as the source of allTruth, Beauty, and Goodness. TheAlbatross appears to represent aChristlike sacrifice, but his death,rather than being a voluntarysacrifice to reconcile man andGod, instead enrages thesupernatural powers. Coleridge’sanswer to the problem isreconcil iation with nature ratherthan reconciliation with God. Buthe turns to a human mediatorinstead of Christ.Instruct pairs to draw a webgraphic organizer like yours. Tellthem to draw three spokes entitled“source of transformation,”“power of transformation,” and“evidence of transformation.”Instruct students to assign twoverses to each spoke. Askindividuals to give a verse and hisor her rationale for its placement.Write the verse in the graphicorganizer. Discuss anydiscrepancies. (source oftransformation—2 Cor. 5:17, Eph.4:24; power of transformation—1Cor. 1:18, Acts 4:12; evidence oftransformation—Rom. 12:2, Rom.8:13–14)Guide students to evaluate whatthey know of Byronic heroes froma biblical point of view. You maywish to use Think and Discussquestion 8 and its answer tostructure your discussion.Lead students to understand thatthe Byronic hero’s choice toindulge in his own flawed desiresleads him to cynicism andpessimism (e.g., Harold). Use thefollowing verses to illustrate theconsequences of biblicalcharacters who chose rebellion

students’ work as a class.Elicit a paraphrase of the poem’sfirst line (see More Analysissection 459D) to get studentsthinking about the poem’smeaning. Ask a student to readthe poem aloud, modeling howWordsworth may have sounded,given his combination of joy andpensiveness in “I wanderedlonely as a cloud.”To help students identifyelements of Wordsworth’sromantic style, direct them toexamine the rhyme scheme andmeter of the poem.To help students analyzeWordsworth’s imagery andallusions, in contrast to Pope’s,discuss how Wordsworth’simages illustrate his theme.Lead a discussion on theromantic message in this poem.Pose During Reading question460A to assess students’ abilityto interpret Wordsworth’sromantic content. Encouragestudents to point out detailsfrom the text to support theiranswers. Follow up on students’answers with the MoreDiscussion prompt attached.Ask students to summarize lines22b–49a and to continue lookingfor expressions of romanticcontent and style. Comparesummaries and examples.Ask students to summarizelines 49–111 in writing and tofind instances of caesura andenjambment. Comparesummaries. Students should beable to answer During Readingquestion 461D and the MoreDiscussion prompt attached.Direct students to consider thebusyness of modern society andthe problems of Wordsworth’sday. Ask them to write aparagraph stating how they door do not sympathize withWordsworth’s desire to becomforted and guided by nature.Discuss student paragraphs.Call on a volunteer to rehearsethe romantic themes introducedon pages 454–55. Ask others tostate ways (one example each)

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messages. against God: Adam, Genesis 3;King Saul, 1 Samuel 15. Challengestudents with the idea thatrebellion against God is a seriousmatter; He will not tolerate it(James 4:17, Rom. 6:23, Prov.2:22). Ask What is God’s promiseto those who seek to do right?(They will receive blessing andrighteousness [Ps. 24: 4–5].) Additionally, the Bible’s solution tosocial hypocrisy is not to abandonall laws or customs one does notlike. Rather, the Bible counselsinternalizing God’s law and Hiswisdom so that one’s characterreally does align with God’s Word(Jer. 31:33; Prov. 3:1, 3, 5, 21–22).What is the speaker’s reaction tothe woman? (He is in awe of herbeauty, both inward and outward.) Ask Do you think this woman isdifferent from the ladies withwhom he is familiar? (It could beassumed so since Byron wasdogged by the accusation of alascivious affair. His admiration forthis lady may indicate how shecontrasts with ladies in his circles.)Discuss with students theuniversality of Keats’s fears. Ask What does the Bible say about thelength of our lives? (Life is short[James 4:14]. Also, God hasplanned the length of each life [Ps.31:15.]) Ask How would youaddress Keats’s fear that he willnot accomplish his goals? (Answers will vary. One example,Psalm 90:17, is a prayer for God’sbeauty to rest on us and for Himto establish the work of our hands,suggesting that we canaccomplish exactly that work thatGod has called us to. Even in asituation such as an unfulfilleddesire to marry, Proverbs 3:5–6 ishelpful.) Ask How would yourespond to Keats’s conclusionthat love will sink to nothingness? (First Corinthians 13:8 says thatlove never fails, meaning it iseternal.)

in which Wordsworth hasemployed nature imagery,individualism, and emotions inthe poems included in the lesson.Inform students that later in thelesson they will study how thework i l lustrates romanticism inits form (ballad) and theme.However, briefly examine thecontents you have justsummarized for other clearevidences of the work’sromantic origins.Instruct students to create aT-chart. On one side listromantic traits (see pp. 454–55).On the other, list examples fromColeridge’s work. The followingare the primary elements:visionary poet, imagination,individual perspective andsubjectivity, intuition andemotion, nature as a source oftruth, the sublime, the distant,and the supernatural.Divide students into pairs anddirect them to examine the firsteleven stanzas. Instruct them tocopy and annotate the meterand rhyme of one of the stanzasand answer During Readingquestion 466A. Compareanswers as a class.Instruct students to organizethemselves into new pairs of oneperson from each passage’sgroup. Students should point outthe sound devices their firstgroup identified. Encouragethem to assess peer answersand discuss discrepancies. As aclass, discuss any significantdiscrepancies.Display the two assignedpassages for the class. Askstudents to annotate their sounddevices or tell you what toannotate. They should record intheir own notes the answersagreed upon in class.To analyze the symbolism ofnatural images Coleridgeemploys, assign different pairsor small groups the sun or themoon. Instruct groups to tracetheir assigned natural imagethroughout the poem, recordingthe lines they analyzed and

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possible truths they can infer.Direct groups to select oneperson to report their findings tothe class. (Answers will vary.Typical truths inferred includethe following: sun—God’sjudgment, wrath, andpunishment; moon—God’sbenevolent and forgiving side.)Remind students thatColeridge’s two characters canalso serve as universal symbolsof sorts. For instance, theWedding Guest could representa young person most interestedin partying and revelry. He triesto evade the wisdom of theMariner (ll. 5–8) but is drawn bythe power of the Mariner’smessage to listen (ll. 9–20). Todiscuss how he develops in thestory, pose During Readingquestion 478B.Inform students that all theelements discussed so farcontribute to this poem’sthemes, but the final and mostimportant key to identifying itsthemes is to analyze thecharacter progression—thechanges the Mariner undergoes.In this work, the Mariner’sinteraction with nature isparticularly important to theme.Distribute Teaching Help 4.8.Assign sections of the Mariner’sdevelopment (I–VII) to differentgroups. Students should beginstudy of their part by examiningthe nature imagery as well asany significant sound devices.They should determine howthese features affect themeaning and the mood of theirpart.Call on a student from eachgroup to give a brief summary ofthe overall mood he found in hispart, identifying specific imagesor sound devices as appropriate.Follow the same instructions forthe symbolism section. Whenstudents are finished with thissection, ask what symbols theythink are particularly significantor call on students to explainspecific symbols.For the third section, direct

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groups to create a summary ofthe significant changes to theMariner’s state within their part.They should address the DuringReading questions relevant totheir part (Part I, 467F; Part II,468B; Part III, 470A; Part IV,470B; Part V, 472A and 473C;Part VII, 477A).Challenge them to discuss whatColeridge is saying about theMariner from a romantic point ofview. Ask a student to begin thesummary, stopping him or herat significant points fordiscussion. Call on anotherstudent to continue the story,and so on.After the discussion, instruct thegroups to come to a consensuson a theme and to write it at thebottom of the Teaching Helpalong with a justification for it.Call on a representative fromeach group to write his or hergroup’s theme on the board.Compare answers and come toa class consensus on one finaltheme. (Answers should dealwith the romantic emphasis onrespect and appreciation ofnature.)Instruct pairs to address DuringReading question 482C. Theyshould annotate the meter andrhyme on a piece of paper.Display the stanza and havestudents take turns explaininghow to annotate it. The poemgenerally follows this form,although Byron diverts fromstrict adherence to the rhymeand meter requirementsoccasionally in the long poem.To set the mood for thispassage, show a video of oceanmovement and sound (seeTeacherToolsOnline.com). Play arecording of Canto IV stanzas178–84 (seeTeacherToolsOnline.com) whilethe students follow along in thetext. Instruct them to listen forthe number of sentences in eachstanza.Instruct pairs to reread thepassage and address DuringReading questions 484B and

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485D. Use the Close Readingprompt on the first question. Forthe second, encourage studentsto annotate any figurativelanguage or elevated dictionthey notice. Categories for thelatter might include archaicword forms (e.g., verbs), loftyabstract concepts, or wordsused in older romantic tales.Give pairs sufficient time toperform these tasks. Perhapsalso replay the recorded versionto assist them.Call on students to share theiranswers. Use the answersprovided for both DuringReading questions as a guide.Remind students to record classanalysis in the chart onTeaching Help 4.9. Encouragestudents to make changes oradditions in another color.Assign lines 1–36 and lines37–45 to different pairs or smallgroups. Distribute unlined paperto each pair or small group.Direct students to draw picturesrepresenting the nature picturethey “see.” Stress the fact thatthe goal is to represent theirinterpretation, not to be thebest artist. Stick figures, words,and symbols are acceptable.Students should comparedrawings and pick one that bestrepresents their section. Instructeach group to write anexplanation for what Harold issaying regarding mankind’srelationship to the ocean. Youwill want to walk around askingquestions, giving studentssuggestions, and pointing themto specific words/phrases whennecessary.Instruct students to brainstorm alist of internal traits Byron isadmiring (e.g., grace, serenesweetness, innocence, purity).Direct groups to revisit theirthemes and consider anychanges they would like tomake. Call on individuals fromeach group to share and justifytheir group’s theme. Answersshould be along the lines of“beauty depends on both the

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physical and the spiritual” or“true beauty is internal.”Instruct student pairs to identifyexamples of alliteration and toshare their conclusions with theclass. They should identify coldcommand, boundless and bare,and lone and level.Instruct students to use eitherhighlighters or colored pencils tomark the lines of each voicespeaking in “Ozymandias.”Choose a volunteer to draw apicture of the scene the travelersaw when he was in this ancientland. Direct the other studentsto offer suggestions—desert,two legs of stone, a broken facewith a frown, and a wrinkled lip.Direct students’ attention to themessage that King Ozymandiashad inscribed on the pedestal.Ask a student to read theinscription out loud, trying toportray the emotionsOzymandias evidently felt.Challenge the class todetermine Shelley’s purposes inwriting this sonnet.Encourage students to sharewhat they remember about KingGeorge III.Remind students that Shelleyhimself felt a sense ofhopelessness and disgust withthe institutions in hislife—whether the king, prince,Parliament, or Church ofEngland. Understandingcontemporary events will lead tounderstanding this poem as aforceful political statement.Taking the poem line by line,provide historical backgroundfor students.Summarize with the class whatShelley dislikes about Englandand where he puts his hope.Assess students’ understandingof the previous discussion usingDuring Reading question 491C,Think and Discuss question 3,and Think and Discuss question4, which delineates how bothsentence structure and allusionwork to convey theme.Instruct students to close theireyes as they listen to the

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recording and to imagine thatthey are outside in the colorfulautumn woods. Ask them foradjectives to describe the wind.Review with students thatunderstanding Shelley’sbackground is crucial tounderstanding his poetry. Weknow Shelley wanted to seepolitical reform, to see changein an outmoded politicalsituation. “Ode to the WestWind” is a prayer for power tobring about change in the world.Ask students to look for theeffect that the combination ofterza rima and sonnet form hason each part. Refer to the latterpart of During Reading question493G. Remind students of thedefinition of refrain (a phrase orline repeated at the end ofpoetic sections).Choose a volunteer to read partII of the poem aloud as studentslisten carefully and follow alongin the text.Just as he did in “Ode to theWest Wind,” Shelley alsocarefully chose each aspect ofthe first two poems in the text toreveal theme. Direct students toevaluate the themes of“Ozymandias” and “England in1819” using the followingreferences: Proverbs 16:18,Psalm 2:10–12, 1 Peter 1:24,Matthew 13:36–43, 2 Peter 3:13,and Ecclesiastes 12:13–14.(Consult the answer to Thinkand Discuss question 9.)Instruct students to close theireyes and imagine it is autumn.Ask them to think about sightsthey associate with fall, recallpleasant smells they experienceduring the season, andremember the sounds theyidentify with it.Display the word autumn in acircle. Choose volunteers todraw a word web, listing sights,sounds, and scents that theyassociate with autumn. Notethat Keats was inspired by hisown experiences of autumn (seeHistorical Background section497A).

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Divide students into threegroups, assigning each group astanza of the poem. DistributeTeaching Help 4.11. Each groupshould read its assigned stanzaand complete the group worksection.Elicit students’ conclusions,using the Teaching Help 4.11key as well as LiteraryBackground section 497A asguides.Instruct students to close theireyes. Play audio clips of musicand of a traffic jam (seeTeacherToolsOnline.com). Ask Which one is more pleasant, andwhat makes it so? Most will findthe music pleasant and thetraffic jam grating.Review with students thedefinitions of euphony andcacophony (p. 496). Point outthat the effects of sounds areinfluenced by their contexts invarious ways. An s might soundsibilant and hissy in one poembut soft and easy in another.This effect is likely due to threefactors: (1) Sounds we “hear” inour minds can take on differentintensities as a result of thespeaker’s tone. Angrily spoken,an s can sound harsher than if itwere spoken in laughter. (2)Combinations and placements ofsounds can change theirqualities (e.g., a k at thebeginning of a word is usuallyharder than at its end whileharder sounds are frequentlysoftened when, for instance, an l is added [pe t, pel t]). (3) It issometimes hard to separate thesounds of a word from howreaders feel about its content orthe content surrounding it. Forinstance, the phrase “boil andbubble” found in the witches’speech referenced below couldbe, if not beautiful, at leastfairly innocuous in various othercontexts.Display an image of a typicalGrecian urn such as might haveinspired Keats. Also show apicture of the procession ofbulls from the Parthenon Frieze

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(see TeacherToolsOnline.com forlinks). Keats may have seen thissculpture and had it in mindwhen he composed lines 31–34of this ode. Note the interestinglayering of art the ode presents:We are reading a work of art, apoem, based on another work ofart, an urn. In turn, the pictureson this urn are art pieces thatare being “read” (i.e., visuallyanalyzed) by the poem’s speaker.Allow students to work withpartners to determine the rhymescheme for each of the fivestanzas.Instruct students to workthrough the readingcomprehension questions onTeaching Help 4.11 as you readand discuss the poem. Directthem to read a stanza at a time,developing each with itsdiscussion prompt that follows.Examine how the odeexemplifies Keats’saestheticism. Pose DuringReading question 498D andassist students inunderstanding its answer.Guide a discussion on how thepoem exhibits this philosophy.Ask students about their fears,eliciting from them variousthings that they are afraid of.Lead the discussion for “When Ihave fears.”Address Think and Discussquestion 4, evaluating theeffectiveness of the poem’s formin supporting its theme. Askstudents to determine how thepoem reflects Keats’s value forbeauty in art. Refer to Think andDiscuss question 5.

Unit 4Romanticism toVictorianismPart 3 EarlyVictorians

(updated 6/29/19)

Identify early Victorianauthors and examine thediversity of viewpointsthey represent.

1 .

Explain the philosophy ofutil itarianism and how itconflicts with Scripture.

2 .

Identify characteristics ofan elegy or a monologuein a text.

3 .

Analyze a poet’s use ofmeter, sound devices,

4 .

Part 3Introduction: EarlyVictoriansAlfred, LordTennyson: from InMemoriam,“Ulysses,”“Crossing the Bar”Robert Browning:“Porphyria’s Lover”Elizabeth BarrettBrowning: Sonnet

Recording of The PiedPiper of Hamelin (audioweb link)Teaching Help 4.12Recordings of Cantos 7,27, and 106 of InMemoriam (audio weblink)Of Ulysses and map ofhis fictional journeys(web links)Of “Ulysses” (audio web

Guide students to understand thatuti l itarianism is at odds withbiblical Christianity. Who gets todecide what will make themajority of people happy? (Answers will vary but may includethe idea that the current authoritygets to decide.) Ask If the goal ofutilitarianism is bringing thegreatest happiness to thegreatest number of people, whocould possibly have enough

Distribute Teaching Help 4.12.Students will use this handout toorganize their analysis andcomparison of the threeTennyson poems. Beginhighlighting passages of InMemoriam where Tennyson’sthemes come through strongly.Direct students to reread thePrologue and Canto 7 in pairsand to answer During Readingquestions 506C and 506D.

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meter, sound devices,and rhetorical elementsto support mood andtheme.Compare and contrastthe use of imagery,symbol, and themeacross an author’spoems.

5 .

Evaluate the author’sview of decline (old age)and death from a biblicalviewpoint.

6 .

Identify characteristics ofdramatic monologue in awork.

7 .

Annotate a text tosupport literary analysis.

8 .

Analyze a dramaticmonologue’sdevelopment of apersona.

9 .

Determine theatmosphere and plot arcof a text.

10.

Evaluate the artisticeffectiveness of a text’suse of literary elements.

11.

Annotate a text toidentify its imagery andstructure.

12.

Analyze how a text’simagery and figurativelanguage develop itstheme.

13.

Analyze how a text’sstructure promotes itstheme.

14.

Compare the theme andliterary elements of twosonnets.

15.

Identify characteristics ofessay in a text.

16.

Summarize orparaphrase a text’s ideas.

17.

Examine how rhetoricaldevices contribute to atext .

18.

Analyze the thesis, mainarguments, andsupporting details of anargumentative text.

19.

Evaluate the author’scritique of socialattitudes.

20.

Understand the literaryand historical context of Hard Times.

21.

Browning: Sonnet4 3Thomas Carlyle:“The Condition ofEngland” from Past and Present,from “Signs of theTimes”Longer Works ofLiterature

CharlesDickens: HardTimes

Charlotte Brontë:from Jane Eyre

Of “Ulysses” (audio weblink)“Crossing the Bar” as achoral arrangement andas a folk song (audioweb links)A copy of the poem foreach studentA recording of the poem(video web link)Teaching Help 4.13A reading of Sonnet 43(audio web link)Colored pencils or pensfor each student(optional)Copy of poem for displayPoster attacking 1834Poor Law (web link)Copies of selections forstudent annotationColored pencils orhighlighters (optional)Teaching Helps 4.14 and4.15Facts about governessesin nineteenth-centuryliterature (web link)Renderings of Jane’sthree paintings (weblinks)Of Jane’s art (web link)Entries for characters(web link)Board rubric (web link)

could possibly have enoughwisdom to know what would makepeople truly happy? (no one butGod) Choose volunteers to readPsalm 144:15, Proverbs 3:13, andProverbs 16:20. Ask Where dothese verses say we can findhappiness? (by trusting in the Lordand by pursuing wisdom)Ask students to determine whetherthese poems are in any wayChristian. As a class, examineTennyson’s ideas about old ageand death in light of Scripture.Students should draw conclusionsthat are supported with textualevidence and, as class discussiondevelops, record their finalanswers on the Teaching Help. For In Memoriam, address DuringReading questions 507G and508D. For “Ulysses,” examine510C. Regarding “Crossing theBar,” pose the More Discussionquestions attached to DuringReading question 511F to helpstudents recognize the underlyingromanticism in Tennyson’s views.Challenge students to considerCarlyle’s attitudes. Choosevolunteers to read Genesis 1:28and 11:3–6. Ask In light of theseverses, is it appropriate for Carlyleto note both benefits andproblems relating to the IndustrialRevolution? (Genesis 1:28 is theCreation Mandate—man is tosubdue the earth and exercisegood stewardship; technologyadvances aid in that injunction.Genesis 11:3–6 speaks of man’spride in his achievements—indeed,initiating self-worship rather thanGod-worship. So, yes, notingbenefits that result from theCreation Mandate is appropriate,and pointing out pride and a lackof communion with God is also anappropriate warning to society.)Examine whether Carlyle wascorrect to severely criticize societyfor becoming “mechanical in headand in heart.” Choose volunteersto read the following Scriptures:Job 28:9–15, 28; Psalm 20:7; Mark7:21–23. Elicit from students thataccording to Job 28:9–15, wisdomis not found in technological

questions 506C and 506D.Discuss students’ answers as aclass. Then direct pairs to rereadCantos 106, 130, and 131 toanswer During Readingquestions 508B and 508C.Review and discuss theiranswers as a class. Studentsshould record the class answerson their handout before movingto the next poem.Share with students theinformation in LiteraryBackground sections 509F and509G. Read the poem aloud orplay a recording (seeTeacherToolsOnline.com) asstudents follow along.Challenge them to listen forwords or phrases that describeUlysses’s feelings.For a study of how genre, meter,sound devices, and parallelismappear and intersect withtheme, divide the class intothree groups. Assign a poem toeach one, and direct them to fillout the appropriate sections inTeaching Help 4.12 as thelesson continues.To help the students identify aline of meter, display theopening line of “Crossing theBar.” Ask a volunteer to read italoud. Direct students to identifyand mark the stresses and thento count the number of stresses.Direct each group to scan therhyme and meter of its assignedpoem and to share theconclusions as a class. Studentsstudying “Ulysses” shouldaddress During Reading question509E.To fully enjoy Tennyson’s superbmusicality, play a version of“Crossing the Bar” set to music(see TeacherToolsOnline.com).Instruct each group to identifyand record at least threeexamples each of all iteration,assonance, and consonance intheir assigned poem. Studentsassigned to In Memor iamshould address During Readingquestion 508A. Allow groups toshare their conclusions.Instruct groups to identify and

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Analyze Dickens’s use ofsetting andcharacterization todevelop theme.

22.

Evaluate an author’sperspective onutilitarianism and societyfrom a biblical worldview.

23.

Identify romantic andVictorian themes in atext .

24.

Draw conclusions aboutcharacter and settingand their relationship ina text.

25.

Analyze the majorthemes and symbols in atext .

26.

Analyze thepsychological realism ofa novel.

27.

Create a diary entry for amajor character.

28.

mastery over the earth; it comesonly from the fear of the Lord.Psalm 20:7 reminds humanity totrust in God and not to depend oneither His creation or man’sdevices. Mark 7:21–23 declaresthat man’s heart is the source ofevil; mastery of it will never comethrough material or mechanisticmeans. Science, technology, andrationality are limited tools foraddressing ethical concerns. Theyreveal what is or can be, but notwhat should be. This knowledge(wisdom) can be found onlyoutside the realm of science andtechnology in the Word of God.One of C. S. Lewis’s main points in The Abolition of Man is thatscientists have thrown out therevealed ethical standards andreplaced them with their own (see529D). Examine with students thevalidity of Dickens’s criticism ofutilitarianism. Point out theconnection between his picture ofthe theory and Carlyle’s ofVictorian “mechanism,” whichtended to reduce humans andsociety to fail-safe processes. Ask Do you agree with Dickens’scondemnation of utilitarianism?(Answers may vary, but studentswill most likely agree withDickens. In fact, utilitarianismignored the image of God inhumans, diminishing both theirmoral and spiritual aspects.)Utilitarianism has continued toevolve and even arises in thepresent-day ethics debates. Youmay want to reference the sectionon uti l itarianism found in BiblicalWorldview (BJU Press) on pages243–44. Generate furtherdiscussion of the value of humanlife beyond the merely useful.Emphasize to students that ourvalue is immeasurable by the toolsof science and facts alone.

record examples of parallelismin their poems and then sharetheir findings. Make surestudents address theappropriate During Readingquestions: 506B and 507F for InMemoriam, 510B for “Ulysses,”and 511E for “Crossing the Bar.”Direct students to examine theconcept of journeys andboundaries in each poem,seeking answers to thequestions asked on page 505 inthe Read paragraphs. Elicitstudents’ conclusions.Begin analysis of the speaker’spersona by calling on studentsto answer the followingquestions.Direct pairs to make a projectionof what they think the speakerwill do next. Call on individualsto share their projections andwrite them for display.Read together stanzas 8 and 9.Elicit the personal responses ofthe students. Compare theclimax to the predictionsstudents made. Encourage themto share what emotionalresponses they have to theclimax and why. (They might saythat they were surprised he tooksuch drastic action or that theythought he was selfish becausehe wanted to possess her.)Call on individuals to share theiranswers. Ask other students fordifferences or variations ofanswers. Then pose DuringReading question 516B as afollow-up question in the MoreDiscussion section.Play a recording of the poem.Elicit students’ initial responsesto the poem. Do they find itbeautiful? Understandable?Relatable? Does it make adifference to know thatBrowning wrote this to a realindividual—her husband? Theirresponses will, of course, vary.Distribute Teaching Help 4.13 tostudents. They will use this copyto annotate throughout thelesson. (Perhaps assign adifferent color to each of the sixitems they will annotate.

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Teaching Help 4.13 provides ananswer key for the sonnetannotation.)Divide students into smallgroups. Instruct them tounderline and count the phrasesof the poem that indicate the“ways” the poet loves herhusband. Direct them to answerThink and Discuss question 1.Call on students to mark thedisplayed copy of the poem.Discuss any corrections thatmight need to be made andcome to a consensus on youranswers. Students should makecorrections on their own copiesif needed. Follow this procedurefor each category of annotationas the lesson progresses.Direct students to find specificimages and comparisons withinthe poem. As an example, readlines 2–4 aloud. Instruct studentsto circle “depth and breadth andheight” and “feeling out ofsight.” Help them understandhow the poet ties complex ideastogether with Browning’s image.Point out that in lines 2–3a shebegins with a concrete picturedescribing physical dimensions(e.g., depth). But the rest of hercomparison (an impliedmetaphor) suggests that love isanything but physical andmeasurable. Instead, finding theboundaries of it is asunsuccessful as her soul’sattempts to comprehend thenature of “Being” or of “idealGrace.” Both of these aremetaphysical concepts thatsuggest something perfect orcomplete yet unfathomable tothe human mind.Instruct students to circleimages in each of the remaining“ways” of loving and to writean explanation of what theysuggest about the scope of herlove.Instruct small groups tocompare their answers, makingchanges or additions withoutdeleting original answers. Call onindividuals to identify theimages and explain their

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significance. Then lead a classdiscussion of their answers usingthe More Analysis section thatfollows as a reference.Instruct groups to compareanswers, making changes andadditions without deletingoriginal answers. Check theirwork using the answers toDuring Reading question 518Aand Think and Discuss question3.Summarize the poem’s theme.Ask students to think ofadjectives to describe her lovein the octave. (Answers such asboundless, pure, sustaining,constant, and unconditional maybe inferred from the images andfigurative expressions.)Ask students for strategies theyhave already used to summarizetexts. (For example, refer themto The Anglo-Saxon Chroniclelesson [p. 31].) Elicit fromstudents that they have lookedfor main ideas, often found intopic and concluding sentences,and for transitional phrases.Inform students that there areother strategies that they canuse to help them summarizeeffectively. Distribute copies ofthe two essays to them. Tellthem that they will beannotating the texts during theclass period. They may usecolored pencils or highlighters tohelp them differentiate itemsthey are annotating. Present tothem this strategy: read theparagraph; underline mainideas; highlight supportingdetails; draw a line throughinsignificant details; write a briefreview of the main ideas (notthe details).Display a poster that wascreated (ca. 1834) in responseto the Poor Law of 1834 (seeTeacherToolsOnline.com). Zoomin on small portions of theposter and discuss the issuesbeing depicted, including theforced labor.Arrange for students to work inpairs, reading each paragraphon page 524 together, one

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paragraph at a time,underlining main ideas. Onestudent should tell his or herpartner what the paragraph isabout. The partner should takenotes on the retelling and thencompare that to the originaltext. Students should take turnssummarizing the paragraphsand writing individualsummaries on their copy of theessay.Choose volunteers from variouspairs to share what they believethe thesis of the essay to be.Their answers may vary; refer toDuring Reading question 524A tohelp them focus theirexamination of text. Instructthem to mark the thesis on theircopy of the essay paragraphsand determine how they developCarlyle’s introductoryparagraph through examples.Ask them to highlight orotherwise mark the specificexamples that Carlyle uses assupport, crossing out irrelevantdetails. Choose volunteers toshare their answers with theclass. Refer to During Readingquestion 523E for suggestedresponses. Point out that so farCarlyle has developed his ideasthrough contrasts and examples.Ask students how Carlyle usesthe literary allusion of Midas tosupport his thesis. Refer toDuring Reading question 524C.Explain the process ofparaphrasing. First, read thetext several times until youunderstand it. (For a difficultsentence, identify the subjectand predicate first.) Laying thetext aside and using yourmemory, write down the mainpoints. Apply the “Four R’s” ofparaphrasing. Reword: replacewords and phrases withsynonyms; Rearrange: putwords, phrases, and even ideasin a different order; Realize:realize that some words cannotbe changed (names, dates, etc.);Recheck: make certain theparaphrase conveys the sameidea as the original text.

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Carlyle points out that amechanistic disposition alsosupposes that forces in humannature and society workpredictably, unchangeably, andinexorably, similarly to physicalprocesses (e.g., chemicalreactions, organic growthpatterns, the laws of physics).Your students may have alreadynoted some of the mysteriouselements in Chapter 12 as theygave their summaries of thechapter. Ask students what theythink of when they hear theword gothic. You may getreactions pertaining to themodern goth aesthetic,including words such as black, violence, heavy metal, or skulland crossbones. Point out thatthe gothic novel does share aconnection to this modernconcept in that gothic novelswere often concerned with dark,impassioned characters whooften perpetuated violence orsuffered violence at the handsof others. Ask a student torehearse the definition of gothicnovel (SE, p. 533). Be sure thatstudents understand thattraditional gothicism includesmedieval and nightmarishelements (such as insaneasylums).Assign students to small groups.Ask students to examine theBefore Reading and headnotematerials as well as pages535–38 for gothic elements.Encourage each group to recordon Teaching Help 4.14 at leastfour sentences from these pages.Ask students to give examplesof symbols they have studied inthis course and in other courses.You may want to remindstudents of the symbolism of SirGawain’s shield in Sir Gawainand the Green Knight .Ask students to study theexcerpt from Chapter 12 in theirsmall groups and to noteanything that could be a symbol.After the collaboration time, askgroups to share their answerswith the class.

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Address During Readingquestion 542A as a class to helpstudents see Thornfield as themajor symbol of Chapter 12.Share with students that havinga house as a symbol is a patternin Nathaniel Hawthorne’s TheHouse of the Seven Gables aswell as in many Dickens novels,such as Dombey and Sons, Great Expectations, BleakHouse, and Little Dorrit.Let students know that symbol,character, setting, and themeare all interconnected in thenovel. As a result, importanttextual details may have anumber of implications. Givestudents time to continueworking on their conclusions onTeaching Help 4.14.To help students connect textualelements in order to draw moreconclusions, give an examplefrom literature or fi lm thati l lustrates theinterconnectedness of settingand character. For example, inCharles Dickens’s Little Dorrit,the Clennam family house isvery connected to the secretsMrs. Clennam is keeping fromher son, Arthur, and the heroine,Amy Dorrit. When the secretsand Mrs. Clennam’s hypocrisyare finally brought to light, thealready crumbling housecrashes to the ground.Especially if you are splitting the Jane Eyre study into two parts,remind students of theconnections they made in theprevious discussion between thesetting of the road to Hay andJane’s character. Use MoreAnalysis section 537E assupport. Ask students to work insmall groups to find and recordtextual details supporting thesimilarities and connectionsbetween Thornfield and Mr.Rochester.You may want to mentionanother example ofpsychological realism in anovel— Henry James’s ThePortrait of a Lady . This novelfocuses on interpersonal

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relationships and charactermotivations in lengthier, moreminute detail than previousworks, even Brontë’s or Austen’s(the latter an example ofpsychological realism in itsemergent stage). Make surestudents understand that allthese examples carefullydevelop a detailed view into theminds of highly individualcharacters. These are not stockcharacters, stereotypes, orcaricatures, but rather complexcreations that seem like realpeople. The circumstancesaround, motivations for, andcomplicated results of theirdecisions, attitudes, and actionsare reflected in the work insome detail.Students may notice thatpsychological realism hasbecome a staple of modernnovels and film. This change isdue in part to the fact thatthese genres are now morequiet, intimate, and sometimesinternalized experiences thantheir earlier counterparts (e.g.,staged dramas, oral literature,group reading of scarceliterature). The rise of silent,personal reading and the use ofhighly detailed, close-up work inwhich these types of media canexcel have been key factors inpromoting the furtherdevelopment of psychologicalrealism.To help students understand thisshift, compare the neoclassicalsatirical works to these novels.Point out that relatable humancharacteristics are often isolatedand exaggerated in satiricalcompositions. Their purpose isnot to reflect the complexity ofhumans’ internal lives but ratherto note and ridicule particularfacets. They may presentpsychological truth, but only anarrow slice of it painted inbroad strokes.Ask a group of students to readthe excerpt from Chapter 13 asa script. If you do not want totake class time to do this, you

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could assign groups of studentsto make videos of themselvesdoing this reading outside ofclass and then view portions oftheir videos in class. You maywant to use a peer evaluationsystem so that students canselect whose video was thetruest to the sense of the story.Assign the parts of Jane, Mr.Rochester, Adèle (have funpracticing Frenchpronunciations!), Mrs. Fairfax,and the narrator (an older/wiserJane persona).Address During Readingquestion 538B to promptstudents to discuss Brontë’srather unusual use of gothicelements.Explain to students that thenarrator’s voice contributes tothe psychological realism of JaneEyre. This might be easier tosee when the excerpt is readalongside other novels or piecesof literature. Ask students tocompare this narrator to thenarrator of another novelexcerpt, such as the one from Pride and Prejudice or RobinsonCrusoe. Inform students thatpsychological realism placesemphasis on revealingcharacters’ complex thoughtsand feelings (motives) insteadof simply relating realistic events.Tell students that many peoplein the Victorian era, such asSarah Stickney Ellis andCoventry Patmore, felt that thewoman should be “the angel inthe house” (a descriptioninit iated in a famous poem byCoventry Patmore, a Victorianpoet and critic), while otherslike Harriet Martineau andFlorence Nightingale argued thatwomen needed to exercise theirmental capabilities and not toalways eat up time in socialevents and needlework. In fact,like Wollstonecraft (SE, p. 437),Nightingale argued that the lowexpectations for women’sexercising their mental facultieshandicapped the closest bondbetween the sexes—marriage.

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Encourage students to draw afew more conclusions about therelationship between characterand theme. Ask students tokeep some of their conclusionsin mind as they anticipateworking on their diary entry ordrawing at the end of this lesson.

Unit 4Romanticism toVictorianismPart 4 LateVictorians

(updated 6/29/19)

Explain the reasons forthe Victorian shift fromearly optimism to laterpessimism.

1 .

Identify the lateVictorian writersintroduced and theconcerns they represent.

2 .

Describe thephilosophies ofagnosticism, socialDarwinism, naturalism,and aestheticism andhow they contradictScripture.

3 .

Infer meaning fromtextual details todetermine a work’sthemes.

4 .

Determine theatmosphere of a text.

5 .

Analyze the centralimagery and extendedmetaphor of a text.

6 .

Evaluate an author’sview of faith and themeaning of life.

7 .

Identify a text’s majorimages, figurativelanguage, and symbols.

8 .

Analyze a poem’simagery, symbols, andtheir connection to itsthemes.

9 .

Analyze a text’s toneand themes.

10.

Evaluate naturalism’sperspective from abiblical worldview.

11.

Identify alterations madeto the traditional sonnetform in a poem.

12.

Annotate a poem’srhythms, structure, andimagery.

13.

Analyze a poem’s use ofsprung rhythm tosupport meaning.

14.

Compose lines of poetry15.

Part 4Introduction: LateVictoriansMatthew Arnold:“Dover Beach”Thomas Hardy:“The DarklingThrush”Gerard ManleyHopkins: “PiedBeauty,” “God’sGrandeur”Oscar Wilde: from The Importance ofBeing EarnestRudyard Kipling:“The Conversion ofAurelianMcGoggin”Longer Works ofLiterature

Joseph Conrad: Heart ofDarkness


Teaching Help 4.16Image of a moonlitocean or the Cliffs ofDover (web link)Of ocean waves (audioweb link)Of the English Channel(web link)Of the poem (audio weblink)Copies of the poem forstudents to annotateReading of the poem(video web link)A copy of the poem foreach studentTeaching Help 4.17Images of nature (weblink)Of “Pied Beauty” and“God’s Grandeur” (audioweb links)Large piece of aluminumfoilDramatic production ofthe scenes (video weblink)Of the play (audio weblink)Unlined paper (optional)Teaching Help 4.18

Allow students to give their owndefinitions of each philosophybelow; try also to elicit from themthe truth of Scripture whencompared to that worldview.The term agnostic literally means“no knowledge.” An agnosticclaims that it is impossible to knowwhether God exists. Manyagnostics are empiricists(requiring sense experiences tovalidate facts) or materialists(believing that only material thingsexist), who rely wholly on reasonand physical evidence as themetric for perceiving and provingtruth. The Bible, however, faultsthis metric, stating that “faith isthe substance of things hoped for,the evidence of things not seen”(Heb. 11:1), and that heavenlyknowledge and wisdom springfrom a source different from ourmaterial senses (Eph. 1:17–19).Still, Romans 1:20 does explainthat creation itself stands asevidence that there is a God.Finally, 1 John 2:3 gives assurancethat those who keep God’scommandments do in fact knowHim.Social Darwinism is an iteration ofDarwin’s theory of naturalselection loosely applied tosociety. This philosophycontributes to the fallacy thatsociety thrives by eradicating theweak. It supports the ideologies ofimperialism and racism, and inworst case scenarios, the practiceof eugenics. It also leads to abelief that the wealthy are “fitter”than the poor. But Scripture saysthat since humans are created inthe image of God, none can claimsuperiority over another. Romans3:23 declares that all are sinners,and 2 Corinthians 5:17 affirmsthat “if any man be in Christ, he is

Show a picture of a moonlitocean and ask students whatkinds of emotions the imagesevoke in them (seeTeacherToolsOnline.com). Thenplay a recording of the oceanwaves (seeTeacherToolsOnline.com) andinstruct students to close theireyes and listen to the oceansounds.To give students an idea of whatArnold was specifically writingabout, show a map of the EnglishChannel (seeTeacherToolsOnline.com) andpoint out where Dover (thespeaker’s location) is and whereCalais is (the speaker describesthe lights there). Also display apicture of the famous WhiteCliffs of Dover (seeTeacherToolsOnline.com).Review the definition ofatmosphere, and point out thatArnold creates atmosphere byhis use of images. Instructstudents to silently read lines1–8 and to underline adjectivesthat help develop atmosphere.Refer to During Readingquestion 553A. Play theremainder of the recording.Instruct students to look for anexample of onomatopoeia in thefirst stanza and mark it on theircopy of the poem. Then discussDuring Reading question 554A.Review briefly other figures ofsound, such as alliteration,consonance, and assonance.Allow students to work withpartners to find and markfigures of sound in stanza 3.Reference More Analysis section554B for possible answers.Examine with students whyfigurative language helps toestablish theme.

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Compose lines of poetrythat mimic sprungrhythm

15.

Identify characteristics ofthe comedy of mannersin a text.

16.

Apply historical contextto understand a text’smessage.

17.

Analyze a text’s use ofwit, repartee, irony, andcharacter to make asatirical point.

18.

Evaluate theeffectiveness of a text’ssatire.

19.

Identify a text’s centralimage.

20.

Apply historical contextto interpreting a work.

21.

Analyze how narrativepersona, imagery, andirony develop a work’stheme.

22.

Evaluate characters’differing worldviews inlight of Scripture.

23.

Understand the culturaland personal context awork is responding to.

24.

Explain how a particularpassage reflects thenovel’s context andthemes.

25.

that “if any man be in Christ, he isa new creature.” Acts 17:26presents a shared humanity andequality of all people.If naturalism posits that there is noGod, Genesis 1:1 categoricallydenies that thought. Furthermore,the Bible presents Him as apersonal God with an intimateknowledge of and love for Hisimage-bearers. It assures readersthat God knows the number ofhairs on their heads (Luke 12: 7)and that His thoughts toward themare innumerable (Ps. 139:17–18).The Bible also contradictsnaturalism’s fatalistic view of thehuman condit ion. We areaccountable for our personalchoices (Rom. 14:12) despite ourcircumstances, and God canenable us to break debilitatingcycles begun by our surroundingsor our own broken condition (1Cor. 10:13).Use Think and Discuss question 7to contrast the speaker’s use of“blessed Hope” in the final stanzawith Paul’s use of the phrase inTitus 2:13. Refer to the discussionof the speaker’s attitude towardthe thrush and More Analysissection 557F. Reiterate the lack ofhope evident in the last line of thepoem.The disturbing philosophy of “artfor art’s sake” counters the biblicalprinciple found in 1 Corinthians10:31—that everything we do is tobe done for God’s glory. Also,Psalm 19 shows that nature doesnot declare its own glory butproclaims God’s. Philippians 4:8should be a guiding principle forbeauty. It must also be just, true,virtuous, and praiseworthy.Instruct students to underlineexamples of alliteration in thepoem and to circle examples ofword-compounding. Choosevolunteers to share their answers.Examples of alliteration includethe following: Glory, God;couple-color, cow; Fresh-firecoalchestnut-falls, finches’; plotted,pieced, plough; fold, fallow;trades, tackle, trim; fickle,freckled; swift, slow, sweet, sour;

establish theme.Instruct students to write downwhat they have learned from thepoem about Arnold’s worldview.Then direct them to read theirconclusions to their partner.Students should then amendtheir conclusions if needed.Choose a couple of volunteers toshare their answers with theclass. Students shoulddetermine that Arnold believesthat the world has lost faith andlacks joy, love, light, certitude,peace, and help for pain. Hecommunicates a dark, confusedworld fil led with misery.Reference the materials abouthis worldview contained in theBuild Background section and inMore Analysis section 554G.Direct student pairs to read andanswer Think and Discussquestion 6. Instruct them to firstdetermine whether they thinkArnold’s view of the world isaccurate, and then discuss witheach other why or why not. Theyshould then read the twopassages in Ecclesiastes andamend their responses ifneeded. Choose volunteers toshare their answers.Share with students thebackground information on oneof the poem’s alternate titles,“By the Century’s Deathbed,1900.” Hardy’s poem expresseshis concerns for the future as hecontemplates the turn of acentury. Discuss theimplications of this title for thepoem’s tone and theme.Play a reading of “The DarklingThrush” (seeTeacherToolsOnline.com).Encourage students to listen forthe poem’s overall tone. Theyshould be able to pick up on thepessimistic tone even beforetheir in-depth analysis.Explain the meaning of thearchaic words to help studentscomprehend the poem’smeaning. In this poem, darkling is an adjective meaning “dark”or “d im” (American HeritageDictionary). Examine the effect

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adazzle, dim; fathers-forth.Word-compounding includescouple-color, rose-moles,fresh-firecoal, chestnut-falls, andfathers-forth.Discuss with students the practicalapplication of the ideas Hopkinspresents in his poems. Notice lines7 and 8 in the poem “Pied Beauty”for example. These lines mightalso be applied to people weknow. Surely God has created aninteresting variety! We shouldpraise God for this diversity andenjoy the beauty of it. Impressupon the students the uniquenessof each person in God’s creationand total plan. It is equallyungrateful and unwholesome toflaunt one’s individuality in orderto attract attention or to suppressit in order to blend in with the crowd.Remind students that Wilde iscritiquing what he perceives to beprideful conventions of Victorianculture—unacceptable attitudesand behavior. He is using thebeauty of humor to critique theridiculous, absurd, and dishonestnature of Victorian morals andvalues—values that conform to anartificial sense of decorum,displacing such qualities as truejustice and mercy (i.e., he usesBeauty to promote Goodness).Assign the questions in theEvaluate Character Worldviewssection (p. 569) to student pairs.Instruct them to prepare apresentation, answering theirquestion with supporting text.They should cite two relevantScripture passages giving rationalefor their application. (Growing inknowledge is essential to theChristian life; however, practicalusefulness is always the goal ofknowledge in the Bible [Prov. 1:4;14:6; 15:2, 7]. Reason andexperience have limitations. Wecannot know all or solve alldifficulties. And some things canbe known only by revelation fromGod [1 Cor. 2:14, Rom. 1:20, Heb.11:1]. Kipling is somewhat criticalof those who accept ideas,especially theoretical ones, blindlyand do not grapple with truth

of these archaic words on thepoem’s tone. Share that Keatsused “darkling” (as an adverb)in his “Ode to a Nightingale,”which critics often contrast withHardy’s poem.Divide students into threegroups to annotate the text forfigurative expressions. Assigneach group to label examples ofone of these three figurativeexpressions: metaphors, similes,and personification.Instruct groups to share theirfindings with the class. Othergroups should annotatefigurative expressions based onthese presentations. If phrasesdemonstrate more than oneexpression, students shouldlabel both. This discussion willcover answers to DuringReading question 557C andThink and Discuss question 3.Examine the influence ofsymbolism on the poem’s toneand theme. Use the second halfof During Reading question 556Aand Think and Discuss question4 to examine the poem’suniversal symbols. Make surestudents see how Hardy’s use ofthese universal symbols furtherdevelops the pessimistic tone ofthe poem.Remind students of thedefinitions of situational andverbal irony (p. 88). Elicitexamples of both types fromauthors previously studied (e.g.,Chaucer, Shakespeare, Austen).Ask a volunteer to read stanzas2–4 with expression. Directstudents to listen for the newimagery introduced in the thirdstanza.Generate a debate amongstudents concerning theambiguity of the speaker’satt i tude toward the thrush.Divide students into two groups:those who interpret a positivetone and theme despite thethrush’s appearance and thosewho interpret a pessimistic tonedespite the thrush’s song.Instruct students to use closereading and textual support in

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themselves [2 Tim. 2:15, Col. 2:3,Rom 1:18]). Marlow’s experiencesreveal that the things and peoplehe idealized possess elements ofgreatness but these weresquandered in inhuman and cruelways. In the end, he concludesthat a “heart of darkness” is foundeverywhere, in all men as well asin another empire’s heart, Britain’scapital, London. Ask How mightConrad’s observations, statedthrough his narrator, be biblicallysound? (Although part of God’sgood creation remains, the worldand humanity are broken by sin.Many fulfill their own greed at theexpense of others.) Ask Wheremight you see these behaviorstoday? (Examples will vary. Peopledemonstrate this truth around theworld, whether through politicaloppression, workplace politics, orabuse and selfishness in personalrelationships.) Ask What arebelievers to do about these facts? (God commands believers to carrythe gospel to everyone and to belight and salt in society. Throughredemptive grace, God canchange individual hearts. This willin turn lead to a more just society.Furthermore, Christians are toseek justice for the oppressed inany way possible.)

their discussion.Point out Hopkins’s definition ofinscape, a word he coined (p.558). He used unusual rhythm,word-compounding, repetit ion,and alliteration to capture theindividuality of each part ofcreation, including the humanmind.Assign partners to worktogether. Instruct each pair tolist on their copy of the poemthe objects or things thatHopkins identifies. Choosevolunteers to share theirresponses. Annotate thedisplayed copy according tostudent responses.Briefly review the concept ofsprung rhythm (p. 558). Pointout that sprung rhythm hassimilarities to Anglo-Saxonpoetry, which used four stressedbeats per line with a varyingnumber of unstressed syllables.Hopkins also used stressedbeats followed by varyingnumbers of unstressed syllablesfor each foot, but he did notstrictly use four stressed beatsper line.Display line 1 of “Pied Beauty”for the class. Read it out loudand clap your hands when yousay a stressed syllable. Repeatthis and mark the stressed beatsin the line. Pose During Readingquestion 559A, using its CloseReading and More Discussionsections to support studentscansion of the poem.Instruct students to work in pairsagain, reading the first stanzaaloud to each other, clappingout the rhythm, and thenmarking the stressed beats ontheir copy. Choose volunteers toshare their answers. There maybe variation in what studentsdetermine are stressedsyllables; use the materials in559A as a guide.Challenge students to explainhow an author develops apoem’s theme. Elicit from themthat imagery and structure bothsupport a theme’s development.Choose a volunteer to read line

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10 to the class.Ask for volunteers to share theirtheme statements with theclass. Answers will vary, butmost students will point to thefirst line or focus in on Hopkins’sidea that God renews creationevery day. Perhaps use MoreAnalysis section 560C tocompare this worldview withthat of Arnold and Hardy in theirpoems.Additionally, explore withstudents the idea that Hopkinsintends readers to be remindedof a larger fact about God’sworking in the world.Read the poem aloud to thestudents, directing them toannotate any stressed syllablesas they listen. Choosevolunteers to share the stressedsyllables in each line. Annotatethe displayed poem according tostudent responses. Use theexample given in the TeachingHelp 4.17 key as a reference.However, be aware that manyliterary critics have slightlydifferent interpretations.Ask for two volunteers to readthe first scene, taking the partsof Jack and Gwendolen (pp.564–65). Encourage them toread with expression.Encourage students to enjoy thehumor. Remind them that Wildeis poking fun. Notice that heoften treats serious issuesinsignificantly and insignificantissues seriously. Lead studentsin a discussion of the satire inthe proposal scene.Remind students of the earlierencouragement to payattention to the differencebetween “Earnest” and “Ernest.”Inform students that obviouslyWilde is toying with his audienceby using the homophone for“Ernest” in the tit le.Ask for two volunteers to readthe second scene, taking theparts of Ernest and LadyBracknell. Encourage them toread with expression.Allow students to share theirpersonal opinion of Lady

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Bracknell’s ideas thus far. Dothey agree with any of heropinions? What do they think ofher approach to her daughter’smarriage?If you have not already done so,play a recorded production ofthese scenes for students.Direct them to follow along inthe text. Discuss their reactionsto the play, especially notingthe humor.Lead a conversation on howhumor was communicated inthe recorded version. Studentsmay reference facialexpressions, body language,and Wilde’s witty dialogue.Assign one of the threecharacters to each student pair.You may have multiple groupsfor each character. Instructstudents to draw a large web ona sheet of paper, inserting theircharacter’s name in the center.Instruct students to drawspokes, recording examples ofhow their character satirizesVictorian society (see Think andDiscuss question 5). Encouragestudents to make sure theyaddress the content alreadycovered in class.Combine groups with the samecharacter to compare examplesand circle answers they agreeon. Call on individualsrepresenting each character toshare answers with the class.Draw an idea web for display,inserting “Victorian Satire” inthe center. Mix students fromdifferent character groups andinstruct them to come up with alist of general characteristics ofthe Victorian aristocracy. Call ongroup representatives to recordcharacteristics on the displayedweb, being careful not toduplicate characteristics othersrecord. (Answers may includehypocrisy, superficiality,triviality, self-righteousness,irresponsibility, respectability.)You might give students unlinedpaper and ask them to draw asketch of their favorite characteror an assigned character.

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Encourage them to i l lustratetheir character with facialexpressions and body action.Students could share theirpicture, explaining how itrepresents their character.Distribute Teaching Help 4.18and divide students into pairs.Direct them to find verbal ironyin this section, recording theirexamples for question 1 on thehandout.Ask volunteers to share theiranswers. Use the key providedfor Teaching Help question 1 aswell as for During Readingquestion 572B as references.Reread the doctor’s warning toAurelian. Ask students to predictwhat they think might happen toAurelian based on the eventsand author’s tone so far. Thenread and summarize the rest ofthe story together. EmphasizeMcGoggin’s pride and refusal tolisten to experienced counselconcerning his extreme workhabits that result in his aphasia.Point out the following exampleof horse imagery (see p. 572,second full paragraph): “AtHome [Britain] men are to beexcused. They are stalled up agood deal and growintellectually ‘beany’.” Thenarrator alludes to a horse thatis confined to a stall for too longand gets temperamental; heimplies that British intellectualsare sheltered and thus get oddideas that do not correspond tothe real world.

Unit 5 ModernandContemporaryLiterature Part1 ModernLiterature

(updated 6/29/19)

Recognize historicallysignificant people,forces, and eventsframing modern andcontemporary literature.

1 .

Identify some broadconnections betweenthese and the era’sliterary trends andthemes.

2 .

Identify the themes andcharacteristics ofmodernist l iterature.

3 .

Examine how culturalforces shaped modernist

4 .

Unit 5Introduction:Modern BritainPart 1Introduction:Modern LiteratureWilliam ButlerYeats: “The LakeIsle of Innisfree,”“Sailing toByzantium,” “TheSecond Coming”KatherineMansfield: “A Cupof Tea”

Teaching Help 5.1Recording of RalphVaughan Williams’s ALondon Symphony(audio web link)From World War I (videoweb link)Declares War (videoweb link)Poster (web link)Elizabeth II’s coronation(video web link)Of Kachru’s WorldEnglishes (web link)Explanation of World

Existentialists believe that insteadof beginning with metaphysicalspeculations (e.g., what is humannature?), philosophers (and peoplein general) should begin with theexistence in which a person findshimself. As an atheistexistentialist, French intellectualJean-Paul Sartre argued thatmankind has no philosophicalessence (defined purpose) ornature because there is no God.We simply act. However, becauseno one forces us to choose to actin a particular way, we are

Tell students that D. H.Lawrence’s short story “The SickCollier” portrays the difficultiesof a newly married couple. Muchof their difficulties relate to classissues between the two of themand between their family unitand the rest of society. Thesestruggles strike a note offragmentation and alienation.As time allows, you may want toplay a recording of one of C. S.Lewis’s radio broadcasts (whichwould later form part of MereChristianity) or one of Churchill’s

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forces shaped modernistwrit ing.Distinguish betweenmodernist writers andwriters with a traditionalworldview.

5 .

Identify a poet’s allusionsin a text.

6 .

Apply backgroundknowledge to a text.

7 .

Analyze a poet’s use ofimagery and symbolism.

8 .

Evaluate a poem’smessage from a biblicalworldview.

9 .

Identify characteristics ofthird-person limitedpoint of view in a text.

10.

Make predictions about acharacter’s choices.

11.

Analyze an author’s useof point of view,character, and setting toconvey theme.

12.

Evaluate the maincharacters’ values andactions according to abiblical worldview.

13.

Identifystream-of-consciousnessnarration in a text.

14.

Recognize an instance ofepiphany in a text.

15.

Analyze an author’s useof elements such assymbol and atmosphereto communicate themes.

16.

Evaluate an author’sadult perspective on anearlier era or event(s).

17.

Identify conflicts in ashort story.

18.

Determine whethercharacters aresympathetic orunsympathetic.

19.

Analyze how plot andconflict help to developtheme in a story.

20.

Create an alternativeending to a story.

21.

Identify characteristics ofan interior monologue ina text.

22.

Determine howmodernist conflicts andthemes frame a text.

23.

Analyze a text’s primary24.

of Tea”James Joyce:“Araby”D. H. Lawrence: “ASick Collier”Virginia Woolf:“The Mark on theWal l ”Longer Works ofLiterature

C. S. Lewis: Perelandra

Sir WinstonChurchill: “Be YeMen of Valor”

Explanation of WorldEnglishes (video weblink)Of one of C. S. Lewis’sradio broadcasts (audioweb link)Recording of Churchill’s“We Shall Fight on theBeaches” (audio weblink)Teaching Help 5.2“The Lake Isle ofInnisfree” set to music(audio web link)Readings of “Sailing toByzantium” and “TheSecond Coming” (audioweb links)Of “A Cup of Tea” (audioweb link)Teaching Help 5.3Recording of “Araby”(audio web link)Reading of “A SickCollier” (audio web link)Photographs of Britishcoal mining (web link)Teaching Help 5.4Reading of “The Mark onthe Wall” (audio weblink)Of “The Mark on theWall” (web link)Of “in a Trench” (videoweb link)Almanack website (weblink)Teaching Help 5.5Teaching Help 5.6A brief history ofChurchill’s involvementin World War II (videoweb link)“Be Ye Men of Valor”speech (audio web link)

in a particular way, we arecompletely responsible for ourchoices. At the end of life, we cansee what essence we created byour choices. Thus, as Sartre posits,“existence precedes essence.”At the time, existentialists,including those who believed inGod, argued that central to awell-lived life is authenticity. Inwhatever situation a person findshimself, he is free to makechoices. Instead of simply makingthe choices that conform tosocietal expectations, he shouldmake the choices that are true tohimself. But he is still responsiblefor his actions. Further, Sartreargued—inconsistently with hisown system, according to somecritics—these choices must alsoaffirm the freedom of others. Howshould Christians think aboutauthenticity? (Answers willvary.) Guide students tounderstand the following: As Jesus’interactions with the Phariseesdemonstrate, there is no place inChristianity for hypocrisy or mereacknowledgement of the truths ofChristianity without a heart thatembraces those truths. However,since the Bible teaches that thehuman heart is indeed wicked (Jer.17:9), it is also folly to simplyappeal to people to be authentic.Instead, the Bible says that peopleneed to be transformed by God’sSpirit so that they become moreand more authentically like Christ.Direct students to reexamineYeats’s religious imagery instanzas 3 and 4 of “Sailing toByzantium.” Ask What solutiondoes the speaker provide as theanswer to life’s temporality? (Thespeaker seeks the release of hissoul from his body in a mysticalceremony that will result inimmortality through art.) Ask Howdoes this journey of the soulconflict with a biblical worldview? (Although Yeats correctlydescribes the heart in stanza 3, hedoes not seek redemption for hisheart nor look forward to theresurrection of the body, a hopefoundational to Christianity.

Christianity) or one of Churchill’sspeeches. Lewis delivered hisradio broadcasts during WorldWar II and Churchill’s speecheswere often similarly broadcastedto the British public (seeTeacherToolsOnline.com forrecordings from these twofigures).Ask students to imaginethemselves as British citizenslistening to these broadcastsduring the war.Divide students into two groupsand assign each a poem toparaphrase by stanza. Groupsshould then determine thepoem’s theme or main idea.Share the backgroundinformation on pages 594–95relating to the more obscureallusions to help studentsunderstand the significance ofthese images. To help scaffoldstudents to discover thesymbolism of the gyre in thetwo poems, remind them thatYeats viewed history as cyclical(p. 593).Groups should continue to fillout Teaching Help 5.2 for thesetwo poems, noting andinterpreting any symbols orallusions. Instruct students touse During Reading questions597D, 597F, and 598A. Theyshould be able to explain howthe symbols and allusions helpsupport the poem’s theme.Instruct students to examine theimagery, sound devices, andrhyme in each of the poems andrecord their findings on TeachingHelp 5.2. Direct students to notehow the sound devices reinforcethe poem’s imagery and theme.Groups should answer DuringReading question 597E.Direct a few representativesfrom each group to present theanalysis of symbol, allusion, andsound devices from their group’spoem. Students from the othergroup should listen and recordnotes on Teaching Help 5.2.Play a recording of “The LakeIsle of Innisfree” set to music(see TeacherToolsOnline.com for

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symbol and itsconnections to theme.Analyze how stream ofconsciousness affects awork’s perspective andthemes.

25.

Evaluate an author’sbeliefs about life’suncertainty from abiblical worldview.

26.

Understand thecontributions C. S. Lewismade to defending abiblical worldview amidstmodernist thinking.

27.

Analyze and evaluateLewis’s response tomodernist rejections ofGod’s benevolent andloving authority.

28.

Identify examples ofrhetorical devices in atext .

29.

Combine readingstrategies to understanda text’s purpose.

30.

Analyze the author’s useof rhetorical devices andappeals in a text.

31.

Evaluate a speaker’seffective use of rhetoric.

32.

Instead, he finds hope in elementsof Eastern mysticism and thetimelessness of art.)Use the Shape Worldviewparagraph in More Analysis section598B and Think and Discussquestions 3–5 to evaluate how“The Second Coming” does ordoes not conform to Truth,Beauty, and Goodness. Encouragestudents to appreciate the beautyof Yeats’s poetry while exercisingdiscernment toward his messages.Reread the first stanza. Remindstudents that this poem waswrit ten in 1921. Ask How doesthe first stanza reflect truth in thecontext of World War I? (Answersmay vary. Students may point outthe destruction of war and itsupheaval of society in the postwaryears. The description remainsrelevant for twenty-first centurysociety.) Ask a volunteer to readColossians 1:15–17. Ask How doesthis description of Christ contrastwith Yeats’s description in line 3? (Yeats describes the unraveling ofthe world and in the followinglines implies the failure ofChristianity as a return topaganism. Colossians 1, however,shows Christ sustaining Hiscreation.) Despite man’s rebellion,Christ graciously continues“upholding all things by the wordof His power” (Heb. 1:3). Christiansrealize that those who rebelagainst Christ’s authority do “fallapart,” but the life centered onChrist will find peace.Obviously, Joyce did not have ahigh opinion of the Church. Ask What actually does make a “good”church? (Answers will vary.) In agood church, the leaders are giftsfrom God to protect people fromfalse teaching and to build peopleup, helping them know Christbetter and become mature in Him.The members also lovingly buildeach other up as everyone workstogether as a body to accomplishthe church’s mission and grow inChrist (Eph. 4:11–16). A goodchurch teaches truth, encouragesfellowship, observes theordinances, prays, helps its needy

a link). Remind students thatYeats is often considered thegreatest lyric poet (in English) ofthe twentieth century. This earlypoem certainly confirms hislyrical prowess.Elicit from students the themesof modernism present in thepoems. Student answers shouldcover the last part of DuringReading questions 596C and597G and Think and Discussquestion 3.Remind students that there arethree main points of view foundin literature: first person,third-person omniscient, andthird-person limited.Explore the idea that we allconstantly makepredictions—whether theprediction is about who will winthe Superbowl or something asmundane as what will be fordinner. Choose volunteers toshare things they makepredictions about. Read the restof page 602 and page 603 up tothe Make Predictions icon.Point out to students how quickwe are to make judgmentsabout others when we do noteven know them. For example,sometimes a person isconsidered snobbish because heor she is quiet, when theindividual is simply shy. Choosevolunteers to share times whenthey have been the object or theinflictor of incorrect judgments.Refer to During Readingquestion 603E to consider anincorrect conclusion thatRosemary has made.Ask students whether they haveever been incorrect in theirpredictions. Choose volunteersto share their experiences. Readpage 605 down to the MakePredictions icon. Address DuringReading question 605C to seewhether students’ predictionswere accurate.Distribute Teaching Help 5.3.Inform students that the t i t le tothe story repeats some imagerythat is key to Joyce’s theme. Anolder name for the region known

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members, and shares the gospelwith the lost (Acts 2:42–47).God has certainly done His part inproviding redemption, the HolySpirit’s direction andempowerment, and theinstruction of the Word: all thingsthe church needs to accomplishthe purposes He has given it. Ask Why does the church not alwayssuccessfully achieve thesepurposes? (Satan does interfere byoffering temptations individuallyand corporately. But people arealso simply broken. Human failuresabound even in the church.) Ask What can you do to help yourchurch become a “great” church? (Answers will vary.)Share with students that believersin Christ do not have to have thesame uncertainty that VirginiaWoolf did. Yes, she had veryimportant reasons to be afraid andto feel that her world had turnedits back on pursuing truth. Butshe herself turned her back on herfriend T. S. Eliot when he becamea Christian. While belief in God byno means erases all of a person’sproblems, faith in Him can providecertainty in life. Ask students todiscuss verses such as 1 John5:13, 20; Philippians 1:6; andPsalm 139:14 to determine whatthings the Bible says we can haveconfidence about. Weston’s ideasabout free will come very close tothe worldview of the Byronic hero(p. 480). Ask How are theysimilar? (Both Weston and Byronicheroes believe that totallyunfettered exercise of their ownwill, usually in defiance of norms,is free will.) Ask How does Lewiscounter this idea, and is his answerbiblically correct? (Lewis points outthat choosing to obey God is still achoice. God does not forceobedience, although He doesdictate consequences forobedience and disobedience.Lewis also rightly highlights thatfree will can be exercised in willingcompliance, not just in rebellion.)Ask individual students to readJeremiah 17: 9; Luke 6:45; Psalms37:31, 119:11; Proverbs 4:23,

as Arabia, Araby also refers to aspecific place in Dublin withinJoyce’s story. After their initialreading of the story, directstudents to use Teaching Help5.3 to record a description ofAraby and to project what Arabymight symbolize within thestory’s developing themes. Planto check their answers later asyou address the topic.Divide students into smallgroups. Direct groups to createa summary of the story’s action.Discuss their results as a class.For a reference point, see theSummary section on page 606.Instruct students to carefullyreread the story’s f irstparagraphs up to DuringReading question 609B. Directthem to pay particular attentionto color and light. They shouldanswer the During Readingquestion in their group and thenrecord their descriptions aboutsetting and atmosphere on theTeaching Help.Direct students to continuereading up to the next DuringReading question (609C). Theyshould answer the question intheir group and record theiranswer in the appropriatecolumn on the Teaching Help.Instruct students to payattention to the older narrator’stone toward the boy’s thoughts,actions, and feelings as theyanalyze the text and completethe chart. Doing so will helpthem understand the intendedthematic meaning for variouselements of the text.Explore their answers as a class,making sure to address thematerial in the More Discussionssection attached to 609C. Makesure to highlight how thesymbols in this passage areattached to Mangan’s sister aswell, hinting at her futureimportance.Contributing to the boy’s conflictare things he perceives to beroadblocks. Direct students toread the next passage upthrough During Reading question

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8:13; Ephesians 4:29; andColossians 3:16.

611F and answer the question intheir group.Remind students of thedefinition of stream ofconsciousness (p. 607). Reviewthe modernists’ purposes forusing this technique (p. 593).Consider with students how theauthor’s perspective on life isinfused into the young narrator’saccount, even while the narratorhas yet to reach his disillusionedperspective.To give students a glimpse of lifefor a coal miner, accessTeacherToolsOnline.com to showphotographs documentingaspects of miners’ lives.Instruct students to closelyexamine the first twoparagraphs on page 615 to notedifferences between the twomain characters. Direct them todraw a T-chart with the labels Lucy and Willy at the top and tofill out the chart with detailsabout each character as thestory progresses. For now, askthem to compare thecharacters’ ages, occupations,appearance, intell igence, andcharacter qualities.Encourage students to sharewhat they think makes a goodmarriage. Addressing DuringReading question 615A, elicittheir opinions on whether thecook and the collier will have asuccessful life together.As part of character analysis,explore with students thereasons Lawrence uses dialect in“A Sick Collier.” Refer to MoreAnalysis section 615B. Theninstruct the students to turn topage 616. Use More Analysissection 616B to model for themhow to read Willy’s dialect.Direct students to read from theDuring Reading question onpage 616 to the first DuringReading question on page 617.Examine the text with studentsto identify further developmentin the characters.In modernist literature such asLawrence’s, foreshadowing isaccomplished by seemingly

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irrelevant details, comments, orevents that are subsequentlyrevealed as important. HereLawrence describes the collier’shead as small and bulletshaped. Use During Readingquestion 617C to elicit fromstudents the possibleimportance of this detail.After students finish reading tothe second Make Predictionsquestion on page 617, addressDuring Reading question 617Dto note the state of this youngcouple’s marriage and studentpredictions for its future.Choose a volunteer to draw andlabel the parts of a plot line (seep. 614). Choose other volunteersto describe each part of the plotline. Help students distinguishbetween the crisis and climax ifnecessary. The crisis occurswhen conflict(s) and characterdevelopment intersect to createa major turning point in acharacter’s journey. The climaxrefers to the point where theaudience feels the mostsuspense or drama. These twopoints may coincide in a plot,but the climax can also occurduring other plot phases, suchas in the denouement.Allow students to work in pairsto address During Readingquestion 617E. Instruct them todraw their own plot lines for thestory. They should label thedetails that form the exposition(introduction of characters andsetting) and also label theinciting incident that begins theconflict. Direct them to identifythe introduction of a new conflict.To begin to explore how Willyand Lucy are developing ascharacters, use More Analysissection 618A to help studentsunderstand Willy’s dialect in thisimportant passage. Thenaddress During Reading question618B to elicit from students thechanges in circumstances forWilly and Lucy and how thestudents now feel about thesetwo characters. Use theattached More Discussion

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section to get students thinkingabout Lawrence’s perspectiveon the characters and theircurrent conflict.Instruct students to fill in therising action, the crisis, thefalling action, and the climax ontheir plot line. Choosevolunteers to share theirconclusions.Ask students what elementscontribute to the theme of astory. Elicit from them that plot,setting, character, conflict,symbol, and point of view allcontribute to the theme of afictional work. Choose avolunteer to define theme (p.229). Finally, ask students toname common themes inmodernist l iterature(destruction, chaos, violence,loss, exile, fragmentation,hopelessness, determinism,alienation, etc.).Noting that conflict and plotwork to inform theme in thisstory, instruct student pairs towork together to articulate whatthey believe to be the theme of“A Sick Collier.” Choosevolunteers to share theirconclusions (see Think andDiscuss question 8).Finally, address the MoreDiscussion questions attached toDuring Reading question 621C.Connect the conflict, plot, andcharacter development toLawrence’s deterministicworldview. Refer to MoreAnalysis section 621D toevaluate this theme from abiblical worldview.Tell students that there areways in which Woolf’s stylereflects her purpose in “TheMark on the Wall.” Remindstudents of other places in thistextbook in which style hasreflected an author’s purpose orcommunicated theme. Forinstance, you could remindstudents of the romantics’ use ofthe lyrical ballad in order toconvey strong, personalemotions and to relate a storyfor the common man.

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To scaffold students as theyanalyze Woolf’s use of streamof consciousness (interiormonologue), ask students towork in pairs in order to maketwo predictions about howWoolf’s style reflects herpurpose. Allow several minutesfor students to work, andencourage them to include a fewtextual details. Compare anddiscuss answers as a class. Askstudents to be prepared tocheck their predictions soon.This prediction exercise will behelpful to students as theybegin drawing conclusions aboutthe themes of the story.Ask a student to define interiormonologue (p. 623). Then askstudents to consider howinterior monologue relates topsychological realism (p. 533).Make sure students understandthat interior monologue (andstream of consciousness ingeneral) attempts to achievegreater psychological realism.Distribute copies of the text (ifyou have made them) and listento an audio recording of “TheMark on the Wall” (seeTeacherToolsOnline.com forlinks to both an excellentreading and a digital version ofthe text).Either while the audio recordingis playing or after it has ended,students should independentlyannotate the text in order tonote obvious examples andcharacteristics of interiormonologue. Encourage studentsto share their reactions to thestory. Students will eitherimmensely enjoy Woolf’s style orfind it off-putting because itdoes not seem to convey a clearpoint. Encourage students toremain patient with the pieceand to take one point of analysisat a time.Instruct students to workindependently for five minutesto make notes about thespeaker’s attitudes. Studentsshould list repeated ideas aswell as what pleases and

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displeases the narrator most.Ask students to work for threeminutes to brainstorm two waysin which the narrator’s attitudestoward traditional values maycommunicate the theme of thestory.To crystallize students’ thoughtsabout how the narrator’sattitudes relate to theme,discuss During Readingquestions 625D and 628A. Askstudents what they think aboutthe “men of action” sentence onpage 628.To help students understand theoverarching allusion present in“The Mark on the Wall,” givethem the information inPhilosophical Backgroundsection 628B to explain howWoolf is working with theconcept of Plato’s cave. Alsoexplain that the mark on thewall is one of the elements ofthe story that evoke bothcertainty and uncertainty for thespeaker. Tell students to beprepared for the mark on thewall, the symbol of the story, tomean multiple things.To help students identify all thepossible identities of the markon the wall, ask them to work ingroups to list the possibilities.Doing this activity answers Thinkand Discuss question 2.Review with students severalsymbols they have studied inthis text, such as the symbols in The Faerie Queene, Sir Gawainand the Green Knight , and ThePilgrim’s Progress, as well asthose in the works of Yeats,Joyce, and Coleridge.Ask students to rehearse waysin which characters and symbolshave related in the selectionsthey have studied thus far. Theymay mention the relationship ofthe dagger and Macbeth or theconnection between Mr.Rochester and Thornfield.Ask students to work in pairs inorder to compare and contrastthe narrator and the othercharacter who appears at theend of the story. Ask them to

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contrast the way the twocharacters are responding toWorld War I. Refer to HistoricalBackground section 629E toprovide students with morecontext for the story. Askstudents to write a statementabout how each of thesecharacters communicatesmodernist themes of the story.Allow time to discuss the pairs’findings.Give students time toindependently l ist ten thingsthat give them cause to beuncertain in life. Ask them towrite a statement about why thenarrator has cause to beuncertain.Challenge students to return tothe text to find the narrator’sreasons for her uncertainty.Direct students to picturethemselves sitting around theradio with their family in the1940s, anticipating what thenew prime minister would say.Divide students into smallgroups and distribute TeachingHelp 5.6. Perhaps display theTeaching Help and recorddiscussion answers on it as thelesson proceeds. Direct groupsto complete the appropriatesections with textual details asyou proceed through theanalysis of Churchill’s speech.Churchill carefully choosesspecific words to make thegreatest impact on his audience.Direct groups to answer DuringReading questions 634A and 634B.Explore student answers usingthese questions and anyassociated strategies. You mayalso wish to extend students’search for connotativelanguage through the rest of thepiece. Use the answers to Thinkand Discuss question 4 and theTeaching Help questions asguides.Direct students to readparagraphs 1–5. Instructstudents to discuss and recordevidence of Churchill’s appeal tologos.Share students’ recorded

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evidence as a class and examineChurchill’s purpose for thisappeal. (See answer to Thinkand Discuss question 2 forsupport; Churchill furtherestablishes his credibility andconnects with his audience.)To focus students on Churchill’suse of pathos, instruct them toanswer During Reading question635C and record their answerson the Teaching Help.Ask students to share theiranswers. Then together answerThink and Discuss questions 2and 3 to examine Churchill’soverall purpose for the speechbased on his rhetorical appeals.Complete the appropriatesections on the Teaching Helpas students agree on an answer.Emphasize the beauty ofChurchill’s amazing rhetoricalskills. Instruct students toindependently answer DuringReading question 635D.Ask students to share theiranswers, listing as many devicesas possible. Use the answer toThink and Discuss question 1 aswell as the Teaching Helpanswers as references for thisdiscussion.Churchill concludes byexplaining why defending Britainis the right thing to do. Instructstudents to read the last twoparagraphs and discuss 635E.Use the answer provided forThink and Discuss question 6 toconduct a broader discussion ifdesired.The ability to use words is aunique and influential gift fromGod. Thankfully, Churchill usedhis gift in the service of good.Read Proverbs 18:21 together.Words have the power to buildup or to destroy. Directstudents to draw a T-chart onthe back of their Teaching Help,labeling one side destroy andthe other side build up. Instructthem to list kinds of speech thatmight support each purpose.

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Unit 5 ModernandContemporaryLiterature Part2 Postwar andCommonwealthLiterature

(updated 6/29/19)

Describe the culturalforces that affectedpostwar andCommonwealth literature.

1 .

Explain how trends fromthe modern eradeveloped in theliterature of postwar andCommonwealth authors.

2 .

Identify thecharacteristics of anaubade in the poem.

3 .

Analyze the poem’s useof irony.

4 .

Analyze the author’sstyle in the poem.

5 .

Evaluate from a biblicalworldview the author’sview of approachingdeath.

6 .

Understand a text’sdifficult syntax.

7 .

Determine the settingand mood of a poem.

8 .

Analyze a poem’sextended metaphor.

9 .

Analyze the connectionsbetween a poem’smetaphor, pacing, andtheme.

10.

Compose an extendedmetaphor.

11.

Understand thesignificance of the playwithin the context ofexistentialist philosophy.

12.

Evaluate the author’smessage ofexistentialism from abiblical worldview.

13.

Identify the speakers ina poem.

14.

Infer meaning from atext’s details.

15.

Analyze a poem’s use ofdramatic irony, blackhumor, and symbol tocommunicate theme.

16.

Evaluate a poet’s view ofhuman relationships.

17.

Identify a poem’sdevices of sound andrhythm.

18.

Determine how a poem’ssound and rhythmenhance its meaning.

19.

Analyze a poem’s centraltheme.

20.

Part 2Introduction:Postwar andCommonwealthLiteraturePhilip Larkin:“Aubade”Ted Hughes: “TheThought-Fox”Longer Works ofLiterature

SamuelBecket: Waiting forGodot

Stevie Smith: “NotWaving butDrowning”Seamus Heaney:“Follower”Nadine Gordimer:“The MomentBefore the GunWent Off”Anita Desai: “ADevoted Son”Longer Works ofLiterature

ChinuaAchebe:Things FallApart

Unit 5 Parts 1 and2 Test ReviewUnit 5 Test

Visual of the loss ofempire (video web link)Philip Larkin reading“Aubade” (audio weblink)“The Sun Rising” (weblink)Recording of “Do not gogentle into that goodnight” (audio web link)“Death, be not proud”(web link)Recording of Hughes’sdiscussing and reading“The Thought-Fox”(video web link)Two colored writingutensils per studentTeaching Help 5.7Recording of Smithreading “Not Waving butDrowning” (audio weblink)Clip of “Follower” (videoweb link)Clip of plowing in Ireland(video web link)Timeline of SouthAfrican history (web link)History behind newversion of South Africannational anthem (audioweb link)Translation of nationalanthem (web link)Of Touching Feet inHinduism (video weblink)Interview with Achebe(video web link)

Remind students of the extendedmetaphor in Psalm 23 (Createparagraph, p. 643). Draw abrainstorming web for display.Write “God is the Shepherd” in thecenter, and record studentanswers to the following question. Ask What are some ways in whichGod is like a shepherd? Refer toexamples from other passagesthat also use this metaphor. (Answers will vary but couldinclude the following: He protectsus from harm; He goes after uswhen we go astray; only theShepherd can save us since we arehelpless, totally dependent, andcannot save ourselves; He ispatient with us.)List the following Scripturereferences on the board:Deuteronomy 32:4; Isaiah 64:8;John 6:35, 8:12, 15:5; andRevelation 19:7. Instruct pairs towrite them down, look them up,and record the metaphor in each.Instruct them to compare answerswith a neighboring pair and thencompare as a class. (InDeuteronomy 32:4, God is therock; in Isaiah 64:8, He is a potter,and people are His clay; in John6:35, Jesus is the bread of life; inJohn 8:12, Jesus is the light of theworld; in John 15:5, God is the vineand people are the branches; inRevelation 19:7, the Church is thebride.) Divide students into pairsand instruct them to look upreferences dealing with thethemes of the play. Assign eachgroup one of the followingreferences: Ecclesiastes 1:13–14,Proverbs 3:19–20, John 8:32, Isaiah43:7, Romans 11:36, and 1Corinthians 10:31. Instructstudents to discuss how thepassages provide answers to thequestions of existentialism. Callon volunteers to share theiranswers. (With God left out of thepicture, the world does seemabsurd. But God created the worldin wisdom, and God has given usHis Word, which is truth; we do nothave to flounder in searching forit. Our lives have ultimate meaningbecause we were created for God’s

Examine the mood of the poemitself. Ask a volunteer to definemood (p. 639) and another toprovide an example of moodfrom a selection already coveredin this course.Direct students to work in pairsas they listen and write downkey words or phrases describingthe mood of the poem. Comparetheir answers as a class.Ask students how they drewconclusions in their study ofJane Eyre. (They had to inferdetails from the excerpt andthen draw conclusions aboutgenre, character, and theme.)Direct students to work in smallgroups to look for the keydetails of Larkin’s style. Theyshould write down their answersas a group. Then compareanswers as a class. Possibleanswers may include detailsabout meter, figurativelanguage, diction, or syntax.Explain to students thataubades are not supposed to bedepressing. Review thedefinition of aubade (p. 639). Tomodel a traditional aubade,share the Donne poem noted inMore Analysis section 640C.Elicit from volunteers thedefinition of irony (p. 88) as wellas examples they haveencountered in their readings forthis class.While a student at Cambridge,Hughes developed a dislike forthe academic analysis ofliterature as opposed to theorganic flow of creative thought.A few years later, when reading“The Thought-Fox” to anaudience, he introduced adream he claimed to have hadwhile at college. Play arecording of Hughes recountinghis fox dream (seeTeacherToolsOnline.com).Play a recording of Hughes’sreading of “The Thought-Fox”(see TeacherToolsOnline.com)as the students follow along inthe text. Encourage students tolisten carefully to the poem’sflow and the author’s vocal

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theme.Evaluate a poem’s themebiblically.

21.

Identify the narrator’spoint of view.

22.

Understand and explainhow apartheid affectsthe story’s elements(e.g., characters,conflicts, themes).

23.

Analyze the story’stheme and the ironysupporting it.

24.

Analyze how the story’spoint of view affects itsdevelopment of theme.

25.

Evaluate the author’smessage about prejudicefrom a biblical worldview.

26.

Identify examples ofirony in a story.

27.

Understand plot andcharacter in order tomake predictions.

28.

Analyze a story’sdevelopment of conflictsand characters.

29.

Evaluate the truthfulnessof an author’s portrayalof human relationships.

30.

Identify key genrefeatures and themes of Things Fall Apart.

31.

Describe the culturalforces that produced thework.

32.

because we were created for God’sglory.)Consider with your students howpeople can help rescue someonewho is “drowning” in grief, sorrow,or loneliness. Ask What answersdo many in society provide forthese problems? (Answers will varybut might include medication,counseling, reaching out to be apart of one’s community, movingforward with new choices.) Ask While some of these are certainlycommon-sense parts of a solution,what might a believer know to addto this list? (Christians know that,ultimately, satisfaction is foundonly when we are reconnected toour Creator, the one who bestunderstands us and is the sourceof our spiritual life and happiness.)Still, believers are not yetperfected, so they also strugglewith feelings of isolation andloneliness. Examine with studentswhat the Bible has to say abouthow believers are to support eachother. Referring to the verses thatare in the Evaluate paragraph onpage 648, instruct students tocomplete question 17 on theTeaching Help. Consider assigninga verse to each group and askingthem to apply the verse to thetopic of friendship. Choose avolunteer from each group to readthe verse aloud and give theapplication of the verse. See theTeaching Help key for possibleanswers.Addressing Think and Discussquestion 8, discuss with studentswhat Scripture says about theparent-child relationship. Askstudents to determine whetherHeaney’s attitude agrees orconflicts with Scripture.Use Think and Discuss question 9to evaluate Gordimer’s messageon prejudice. Use the last part ofthe answer to Think and Discussquestion 8 to note the importanceof collecting facts and consideringboth sides of an issue beforepassing judgment (although makesure to be clear that she is notabsolving Van der Vyver of hiswrong actions or casting equal

flow and the author’s vocalintonations to help understandthe poem’s meaning.Instruct students to reread thepoem silently. If necessary, theyshould paraphrase portions theyare confused by. Additionally,instruct them to note placeswhere the poem’s flow seems toquicken or slow down.Direct students to examine theimage on page 644. Then posethe Visual Analysis question onpage 645 (see answer on TE p.644) to compare how the artistand Hughes similarly constructtheir fox images.Examine with students howHughes uses the poem’s pacingto mimic his content. As a class,make a list of the fox’smovements beginning withstanza 2.Perhaps direct individualstudents to draw a cartoon stripillustrating the pace of the fox’smovements using one or twoboxes for each stanza. Eachmovement listed above shouldbe illustrated.If students created cartoonstrips, direct them to sharethese with their partners. Eachstudent should relate his or herdrawing choices to the list ofactions the fox takes in thepoem. Call on volunteers toshare with the class.If possible, project some cartoonstrips for all to see. As a class,compare the strips with thedisplayed poem copy. Discusscompleteness and accuracy ofstudent interpretations (see theanswer to Think and Discussquestion 1 for reference) beforesummarizing together the paceof the fox’s movements in thepoem.Hughes uses syntax to helpreaders feel these movements.Together examine his use ofenjambment, caesura, andrepetition. Pose During Readingquestion 645C, beginning withits attached Close Readingstrategy.Instruct pairs to take turns

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blame on anti-apartheid forces). Astime allows, you may want to elicitfrom students how they can applythe story’s lessons on prejudice tocontemporary issues.Remind students that the Bible hasa lot to say about motivation.Direct students to compare andcontrast character motivationswith biblical principles. Some pairsshould study Varma, and some,Rakesh. You might suggest topicsfrom Think and Discuss question 8to provoke their thinking. Othertopics you could suggest includeself-centeredness (Rom. 12:10,Phil. 2:3–4, 1 Cor. 13:4–7, Gal.5:26, and Eph. 4:32) andchild-parent relationships (Exod.20:12; Prov. 23:22; Eph. 4:2–3 and6:1–4). Discuss students’ finalanswers as a class.

reading the stanzas aloud,exaggerating the enjambmentand caesura and discussing theannotation as necessary. Callon two or three volunteers toread the section aloud to theclass, clearly demonstratingtheir annotations.Instruct pairs to take turnsreading the stanzas aloud,exaggerating the enjambmentand caesura and discussing theannotation as necessary. Callon two or three volunteers toread the section aloud to theclass, clearly demonstratingtheir annotations.Lead students to see how thepoet’s marrying of the twoworlds serves to reveal themessage of his extendedmetaphor.Direct pairs to compare theirexplanations in order to betterunderstand the metaphoricalmeaning of the fox’s gradualrevelation and movements. Callon volunteers to share theirexplanations with the class. As aclass, discuss completeness andaccuracy of studentinterpretations (see Think andDiscuss question 1).Instruct pairs to write a poem ora paragraph based on one ofthese metaphors. Inpreparation, direct them tocreate a web as you did, writingone of the metaphors above inthe center. Direct them to writea minimum of five descriptionson the web spokes andincorporate those into aparagraph or poem extendingthe chosen metaphor.Distribute Teaching Help 5.7.Instruct students to work insmall groups to completequestion 1 on the Teaching Helpby writing a one-sentencesummary for each stanza.Choose volunteers to explaintheir answers.Next, ask a volunteer to readstanza 1 aloud. Instruct studentsto examine the stanza in theirgroups, answering questions 3and 4 on the Teaching Help.

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Address During Readingquestion 649A to examine howthese speakers contribute to theblack humor in the poem.Choose volunteers to share theiranswers with the class.Instruct students to examine thedeeper meaning of the poem byanswering questions 13–16 onthe Teaching Help. Choosevolunteers to share theiranswers. Address DuringReading question 649B to notethe irony in the dead man’scommunication. Refer to DuringReading question 649C toevaluate the ways Smith useswords as symbols.Ask students whether any ofthem are familiar with life on afarm. Allow them to share theirexperiences.To give students a betterunderstanding of the poem’simagery, show a video clip ofold-fashioned plowing methods(See TeacherToolsOnline.com).Instruct students to notice thefurrows and the effort expendedby the man plowing.Examine how the sounds of thepoem—both its syntacticalrhythms and its soundrepetitions in words—helpsupport its content. Begin byexamining the poem’ssyntactical rhythms. Choosevolunteers to define the terms enjambment and caesura.Choose volunteers to givedefinitions of the words perfectrhyme and slant rhyme (p. 651).Instruct students to composetheir own examples of perfectrhyme and slant rhyme. Choosevolunteers to either verballyshare their answers or displaythem for the class.Either choose a differentvolunteer to read each stanza,have each row of students reada stanza, or read the entirepoem aloud as a class. Instructstudents to listen for rhymes.Explore with students the effectthat perfect rhyme and slantrhyme have on a poem’s flow.(Consult the answers to Think

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and Discuss question 5 for a fullexplanation.)Choose volunteers to definealliteration, consonance, andassonance (if necessary, remindthem that these can appearthroughout a stanza and not justin a single line of poetry).Examine the father-sonrelationship in the poem. Askstudents how they know that theson loves and respects hisfather. Elicit from them that hefollowed his dad everywhereand that he wanted to be afarmer like his dad.Instruct student pairs todetermine what they believe thetheme of the poem is and towrite the theme down in theirnotes. Choose volunteers toshare their responses. Possibleresponses include themes offamily and the natural changesin father-son relationships thatoccur over time andcontemplation of the difficultchanges that old age will bringto all of us.Read the story aloud asstudents follow along in the text.They should have a piece ofpaper to write on. Pause atDuring Reading question 656Aand ask students to write theirpredictions. They may alsorecord what they think of Vander Vyver at this point in thestory. Pause again at DuringReading question 656B and letstudents write down theirguesses about the story’s title.Direct students who believe theshooting was an accident tomove to one side of the classand those who believe theshooting was not an accident tomove to the other. Count eachside. Continue reading, allowingstudents to switch sides if theychange their mind based on anynew textual details. When youfinish reading, take note of howmany are on each side. Studentsmay need time to process thesurprise ending!Pose During Reading question658B and Think and Discuss

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question 2 to a few students oneach side. Ask whether anyonewondered whether Lucas wasVan der Vyver’s son before thestory’s end (possibly no one willhave).Examine the prejudicerepresented in the story. Draw aT-chart with apartheid and anti-apartheid columns. Elicitexamples of prejudice from eachside. Student answers shouldcover During Reading questions655B and 657E and MoreAnalysis 656C.Note the effective use ofviewpoints to reveal theconsequences of prejudice inthe characters’ lives. Use Thinkand Discuss questions 5, 6, andthe last part of 8 to examine thecomplexity of Van der Vyver’srelation to both the apartheidand anti-apartheid communities.Call on a student to continuereading to the end of the firstcomplete paragraph on page661.Divide students into pairs anddirect them to read the nextthree paragraphs up to DuringReading questions 662B and662C. Instruct them to addressthese During Reading questionstogether to examine Rakesh’scharacter and predict his futurepath.Use the following questions tomodel the type of analysisstudents should do on theirchart.Instruct pairs to read the nexttwo paragraphs up to DuringReading question 663E. Instructthem to use the chart again totrace and analyze Rakesh’s andVarma’s behaviors andmotivations.Instruct pairs to read the nextparagraph (up to During Readingquestion 664A). They shouldanswer the question andcontinue to fill in the chart.Additionally, direct them to readup to and answer DuringReading question 665B aboutthe discussion between Varmaand his neighbor. They should

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record on the chart Varma’sinterpretation of his son’smotivations.Scaffold students through adiscussion of their answers tothese During Readingquestions. First, call on astudent to summarize thechanges in Varma’s diet.Direct pairs to read theremainder of the story, tracingthe characters’ actions andmotivations.Instruct pairs to reflect on theirearlier opinions (see DuringReading question 662B) ofwhether Rakesh was “a devotedson.” Direct them to decidewhether their opinions havechanged. Instruct students todiscuss whether they wouldcategorize Rakesh as static ordynamic or both.Call on students to share theiropinions. Use the second half ofthe answer to Think and Discussquestion 5 to guide students’answers, which may legitimatelyvary. Lead students tounderstand that Rakesh’sdevotion remains the same,making him in this regard astatic character. However, it isalso true that his role in thisrelationship subtly changes,possibly along with a subtlechange in his cultural values. Inthis sense, he might beconsidered somewhat dynamic.

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