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Swingin’ into Symbolism

Alexandra J. Niel11th Grade

Unit OverviewEssential Question: How do you view society during the1920’s?

Core Text(s): The Great Gatsby by F. Scott Fitzgerald

Grade Level: 11th Grade

Rationale: The Great Gatsby is a highly symbolic representation of America in the 1920’s, particularly focused on the disintegration of the American dream in the era. Students in 11th grade are expected to compare a literary work to texts written during the same time for meaningful similarities. Students are also expected to determine the meaning of figurative language as it is used in relation to the novel. The essential question is ideal because students will learn how Fitzgerald’s use of figurative language, symbolism in particular, aids in his representation of the American dream and the decay of morality in the 1920’s.

Literary Reading Learning Target: SWBAT identify the use of symbolism throughout the text. SWBAT use meaningful textual evidence in order to explain how the symbols aid in our understanding of main ideas or themes in the novel.

Related Common Core Standard: CCSS.ELA-Literacy.RL.11-12.4Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.)

Rationale: In 11th grade, students are beginning to study literature at a higher level, including how the identification of figurative language can aid in a deeper understanding of the text. Learning about symbolism will teach students how to analyze a text by identifying symbols, interpreting the significance of symbols, and using textual evidence to support the symbolic meaning. F. Scott Fitzgerald uses symbolism throughout The Great Gatsby.

Reading Comprehension Learning Target: SWBAT use reading strategies such as making connections in order to draw comparisons between different texts related to The Great Gatsby. SWBAT call on background knowledge and experiences to help them understand a given text.

Related Common Core Standard:CCSS.ELA-Literacy.RL.11-12.10By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11-CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.

http://www.corestandards.org/ELA-Literacy/RL/11-12/10/


Rationale: In 11th grade students will need to know how to comprehend a literary work and must have the ability to make connections. By having the ability to make connections based on their prior knowledge, students will be able to identify critical information from the text. It is important that students are able to use their background knowledge and experiences to help them understand something that is confusing. Students in the 11th grade should also be able to use evidence from the text to help their understanding.

Discussion Learning Target: SWBAT to effectively participate in group discussion. SWBAT build on the ideas of others during discussion and will be able to express their own analysis persuasively.

Related Common Core Standard:CCSS.ELA-Literacy.SL.11-12.1Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

Rationale: In the 11th grade, students are beginning to develop important cognitive skills. By having the ability to discuss ideas amongst their peers, students will learn how to build their ideas by comparing them to the ideas of their peers. It is crucial that students can express a clear and precise thought vocally.

Culminating Assessment: Students will be asked to write as essay for their culminating assessment. Since the unit covers symbolism, students will be writing an essay discussing symbolism in The Wasteland by T.S. Eliot. Students will be asked to choose three symbols and discuss what they symbolize and how they aid in developing the theme of the story. The essay will consist of 5 paragraphs: 1) Introduction and Thesis, 2) 1st Symbol, 3) 2nd Symbol, 4) 3rd Symbol, 5) Conclusion and Thesis Restated. Students must have at least three pieces of textual evidence. In each of the body paragraphs, students will be describing the meaning of the symbols and explaining how it helps to develop the theme of the story. The thesis should tie in the three symbols to the main theme of the story.

Rationale: In this assessment, students will be completing the literary learning target by demonstrating the depth of their knowledge about a symbol of their choice from The Wasteland. Students will be completing the reading comprehension learning target by demonstrating how they used textual evidence to identify the meaning of the symbol and by showing what type of connections they made that helped them understand the meaning of the symbol and how it related to the main theme of The Wasteland. The essential question is addressed because the

http://www.corestandards.org/ELA-Literacy/SL/11-12/1/

wasteland ties into the issue about the American Dream in the 1920s. This assignment requires students to relate the symbols found in The Wasteland to society in the 1920s.

READING FOR TEACHING

Overview of Core Text

Title: The Great Gatsby Author: F. Scott FitzgeraldSynopsis (2-3 sentences, including year, genre, and basic info):Published in 1925FictionThe Great Gatsby is a story written about the roaring 20’s, narrated by an outsider looking in. It is about wealthy socialites, the havoc they cause in their world, and the way their social decay is viewed by someone who is not one of them.

Lexile Score: __820L___________________ Rough Grade Level Equivalent: _11 th ___________ 1. Takeaways

Society and Class

Dissatisfaction

The American Dream

2. Reading Strategies

Making Connections

Visualizing

Predicting

Using Evidence

3. Craft (Literary & Rhetorical Devices)A. Key Ideas &

Details

Characters (Nick, Gatsby, Daisy, Tom, Myrtle and George)

Upper-class in

the 1920s

B. Genre & Structure

Narrator- Nick Carroway (also implied that he is the author

Narrated in both 1st

and 3rd person

Foreshadowing- car wreck, mysterious

C. Figurative Language

Oodles of figurative language… Good guide found onthegreatgatsbyreviewguides.wikispaces.com

Symbols- the green light, the valley of ashes, Dr. T.J. Eckleburg’s eyes

East Egg vs.

West Egg

The American

Dream

Wealth

phone calls Gatsby receives

Tone of Nick Carroway

4. Conventions (Grammar & Style)

Common use of passive voice

Complex sentences, varying in length. Numerous long, complicated sentences.

Every variety of punctuation used (semicolon, colon, commas, dash)

5. Supplementary Texts (literary, informational, and visual/artistic texts that “speak” to the core text in terms of…)

A. Context & Perspective

Film clips from

the 1920s

Music from the

1920s

Pictures of how people dressed in the 1920s

Historical article (newspaper, etc. to give background on 1920s)

B. Big Ideas, Themes, Concepts

Poem- related to what is the American dream

Clip from The Great Gatsby movie when Gatsby and Tom fight at the plaza

Clip from The Great Gatsby when Gatsby reveals where he has been and what his purpose was

C. Strategies, Craft, & Conventions

Music for symbolism

Examples of everyday symbols (flag, dove, etc.)

Biographies (for characterization)

6. Challenging Vocabulary-Erroneous -Jauntiness -Punctilious -Obstinate -Unutterable

-Rotogravure -Impetuously -Incredulous -Exultation -Rancor-Countenance -Provocation -Elicited -Corrugated -Pneumatic-Corpulent -Languid -Disconcerted -Substantiality -Boisterously-Sumptuous -Feigned -Juxtaposition -Perturbed -Superfluous-Supercilious -Ambiguously -Splendor -Commensurate -Garrulous-Homogeneity -Subterfuges -Skepticism -Tumultuous -Unscrupulously-Omnibus -Fortnight -Harrowed -Indiscernible -Corroborated-Excorsions -Incessant -Vestige -Incessantly -Portentous

Unit Calendar1 2 3 4 5

Topic: Reading Comprehension Strategy LT

Topic: Background Information

Topic: Frontloading Topic: Gateway Lesson: Literary Reading Target

Topic: Discussion Target

Intro to Reading Comp. Strategy (Making Connections): Journal/Bell Ringer (10 min)

Introduce Clarification Chart: Class reading of Hills Like White Elephants and TTW model the Clarification chart. (15 min)

Students work in groups to complete Clarification Chart. (20 min)

Class Discussion about Clarification Chart. (5 min)

Exit Ticket: Students will write short paragraph about one of the roadblocks they clarified in their groups. (5 min)

Intro to Background information for The Great Gatsby. (10 min)

Short class discussion about intro. (5 min)

PowerPoint: Background on F. Scott Fitzgerald and the 1920s. TTW show movie clips, pictures, and play jazz music from the 1920s. (23 min)

Class reading: The class will read informational text about 1920s out loud. (7 min)

Students will write a short summary about what they have learned in class and how they view the 1920s. (10 min)

Journal: Make a prediction about The Great Gatsby using what you know so far and the cover of the book. (10 mins)

Introduce Gallery Walk (5 mins)

Gallery walk: Anticipatory questions for The Great Gatsby (20 min)

Class discussion about anticipatory topics. (15 min)

Journal: Make a new prediction about The Great Gatsby using what we learned from the gallery walk. (5 min)

Journal: Write about your school mascot. Why is it a good symbol to represent your school? What are some other symbols that represent things in everyday life? (5 min)

Short discussion about symbolism: How to identify symbolism. (5 min)

Students will analyze pop culture songs for symbolism. The teacher will model using the Symbolism Chart. (10 min)

In pairs, students will choose 3 songs from a list to analyze for symbolism. Groups will map out symbols using the Symbolism. (25 min)

Class discussion about symbolism. Students will turn in Symbolism Charts to the teacher. (10 min)

Students will silently read The Tale of King Midas independently and upon completion will answer three short questions at the end. (10 min)

TTW connect activity to upcoming Literature Circles and give brief introduction to taking it back to the text. (5 min)

TTW model one of her answers to the question and also give an example of taking it back to the text. TTW ask a student to give one of their answers and will then tell the student to “prove it!” (10 min)

TTW review discussion protocol and students will begin Literature Circles (30 min)

HW: HW: HW: HW: HW: Read Ch. 1 of The Great Gatsby and be prepared for a class discussion. Mark roadblocks and symbols in the text.

6 7 8 9 10

Topic: Discussion, Literary, and Reading Targets





Bell Ringer: Students will answer Qs from Chapter 1 of The Great Gatsby. (5 min)

Students will briefly review yesterday’s activity. (3 min.)

Literature Circles: Taking it back to the text with symbolism Ch. 1 (22 min)

Whole class discussion about Chapter 1 of The Great Gatsby. TTW discuss roadblocks and symbols. Class will clarify together. (10 min)

Students will be given DQs for Chapter 2 of The Great Gatsby. S will begin silently reading in class and will answer out at least the first Q before the end of class. (15 min)

TTW review Chapter 2 Qs as a whole class. (5 min)


Whole class discussion about Chapter 2 of The Great Gatsby. TTW discuss roadblocks and symbolism. Class will clarify together. (10 min)

Vocabulary Materials (15 min)






Literature Circles: Taking it back to the text with symbols Ch. 4 (25 min)





Whole class discussion about Chapter 5 of The Great Gatsby. TTW discuss roadblocks. Class will clarify together. (10 min)


HW: Finish reading Chapter 2 of The Great Gatsby and complete Chapter 2 Qs. Also mark roadblocks and symbols in the text.

HW: Read Chapter 3 of The Great Gatsby and be prepared for class discussion. Mark roadblocks and symbols in the text. Answer Chapter 3 Qs.



HW: Prepare for Vocabulary Quiz.

11 12 13 14 15

Topic: Vocabulary Quiz and Reading

Topic: Literary Reading Target



Topic: Final Assessment

Vocabulary Quiz (30 min)

Students will begin reading Chapter 6 of The Great Gatsby silently once they have completed their quiz. Students will also answer Chapter 6 questions as they read.

Class discussion about Chapter 6 of The Great Gatsby. Review of Chapter 6 Questions. (10 min)

TTW introduce class project. Students will be put into groups and will be asked to create a presentation (poster, powerpoint, prezi, etc.) Each group will be asked to choose a symbol from The Great Gatsby and present it to the class. (5 min)

Students get into groups and begin working on projects. TTW go from group to group and assist. (40 min)

Class discussion about Chapter 7 of The Great Gatsby. Review Chapter 7 questions. (10 min)

Group presentations. S will be asked to take notes while their classmates present their projects. (35 min)

Begin silent reading of Chapter 8 of The Great Gatsby. Also complete corresponding questions. (10 min)

Class discussion of Chapters 8 and 9 of The Great Gatsby. (20 min)

Oral reading of T.S. Eliot’s “The Wasteland” (10 min)

Students will get into groups of 2 and fill out a Clarification Chart for “The Wasteland.” (15 min)

Class will come together and discuss “The Wasteland.” (10 min)

TTW introduce final assessment: Essay. (10 min)

Students will be given rubric for paper and will begin outlining essays and will have in-class conferences with teacher about paper topic. (45 min)

HW: Finish reading Chapter 6 of The Great Gatsby and complete Chapter 6 questions.

HW: Read Chapter 7 of The Great Gatsby and complete Chapter 7 questions.

HW: Finish reading Chapters 8 and 9 of The Great Gatsby. Also complete Chapter 8 and 9 questions.

HW: HW: Make corrections to outline. Bring all necessary materials to begin drafting on Monday.

16 17 18 19 20Topic: Final Assessment Topic: Final Assessment Topic: Final Assessment Topic: Celebration! Topic: Celebration!

Computer lab day. (55 min) Peer Review Day and continue teacher conferences. Peers are to use rubric to review partner’s papers. (one paper copy for peer and one for the teacher) (55 min)

Computer Lab day to make corrections on final draft. Continue teacher conferences. (55 min)

Watch original version of The Great Gatsby. Students will be given a worksheet to fill out as they watch the movie. (55 min.)

Watch original version of The Great Gatsby. Students will be given a worksheet to fill out as they watch the movie. Students will turn in worksheets at the end of this class. (55 min.)

HW: Bring two paper copies of your rough draft to class tomorrow.

HW: Bring all materials to class tomorrow for final drafting day.

HW: Final draft due tomorrow!

HW: HW:

The Great Gatsby- Vocabulary List

1. Reluctant adj. (p. 29)- Unwilling; uncertain; cautious. For example: “He was reluctant because he did not want to hurt her.”

2. Solemnly adv. (p. 72)- Something that is done in a serious way; An example of acting solemnly would be the way we should act at a funeral. For example: “Leaning back, she solemnly gazed into his eyes.”

3. Grotesque adj. (p. 163)- A very ugly or comically distorted creature, figure, or image; deformed. For example: “It was something grotesque, but definitely not a skeleton.”

4. Obscure adj. (p. 113)- Not clear to the understanding; unnoticed; plain. For example: “The information was obscured by price stickers.”

5. Exhilarating adj. (p. 85)- To make cheerful; exciting; inspiring; to enliven or stimulate. For example: “We enjoyed our exhilarating trek to the summit.”

6. Incoherent adj. (p. 139)- Expressed in a confusing way; unclear; without logical or meaningful connection; not rational. For example: “He was not an orator, and though he could express himself forcibly on occasion, his speech was incoherent.”

7. Skepticism n. (p. 79)- An attitude of doubt as to the truth of something; doubt; suspicion; uncertainty. For example: “The information filtered through her skepticism until she admitted he spoke too logically to be anything but right.”

8. Squeamish adj. (p. 179)- Easily made to feel sick; afraid to deal with or do things that might offend people; having an unpleasant or doubtful feeling; easily offended. For example: “I am not so squeamish about pain.”

Vocabulary Workout 1: The Great Gatsby Vocabulary List 1

1. You witnessed something bad happen at a party over the weekend. What are some reasons you might be reluctant to report it to a figure of authority?

2. In what situation would you be expected to act solemnly?

3. Can you think of a fictional character that has a grotesque appearance? What is it about the character that makes you call it grotesque?

4. The view of the mountains from the plane was obscured. What might be the cause of this?

5. Name an experience that gave you an exhilarating feeling.

6. What are some reasons that a person may speak incoherently?

7. Give an example of a situation where skepticism might not be a good attitude to have?

8. Do you know anyone that is squeamish? Give an example of how they are squeamish.


Finish the sentence. Use the vocabulary word in each sentence you finish. Follow the example.

1. Reluctant: He wanted to tell his mom about his sister sneaking out, but was reluctant as to not get her in trouble.

2. Solemnly: At her neighbor’s funeral

3. Grotesque: Though he may be kind

4. Obscure: The instructions the professor gave

5. Exhilarating: This past summer

6. Incoherent: His car accident played a hand in

7. Skeptical: Because she had lied before

8. Squeamish: The dog they rescued


Which vocabulary word do you associate with…

1. A totally awesome vacation?

2. Monstrous looking creature?

3. Unclear directions given by your teacher?

4. A man who mumbles when he speaks?

5. Someone who is a non-believer?

6. The manner in which a funeral procession walks?

7. Hesitating to ask for a raise?

8. A person that would not do well in a debate class?

Choose 5 Vocabulary Words from Miss Niel’s cup and create sensible sentences with each one.

1. Word:_______________Sentence:

2. Word:_______________Sentence:

3. Word:_______________Sentence:

4. Word:_______________Sentence:

5. Word:______________Sentence

Reluctantly

Reluctantly Reluctantly Reluctantly

Solemnly Solemnly Solemnly Solemnly

Grotesque Grotesque Grotesque Grotesque

Obscure Obscure Obscure Obscure

Exhilarating

Exhilarating

Exhilarating

Exhilarating

Incoherent Incoherent Incoherent Incoherent

Skeptical Skeptical Skeptical Skeptical

Squeamish Squeamish Squeamish Squeamish


A. Check out the sentences below. Highlight the ones that use the vocabulary word correctly.

1. She was reluctantly to hand in the test to her teacher.

2. I reluctantly handed in my plagiarized essay to my professor.

3. He solemnly proceeded to his grandfather’s open casket.

4. He solemnly ever goes to parties.

5. The grotesque look on his face signaled that the relationship was over.

6. Shirley Temple’s smile was said to have been grotesque.

7. Thankfully, the beautiful sky was obscured.

8. I was unsure of how to write my paper because of the obscure instructions.

9. During the week of final exams, I often feel exhilarated.

10. My honeymoon to Europe this summer was exhilarating.

11. Obama is a great speaker, which is why critiques claim he is incoherent.

12. Though the baby is beginning to talk, her speech is incoherent.

13. I was skeptical of the fact that I might win the lottery.

14. He was skeptical in his quest to take the throne.

15. Betty White is squeamish in front of a large crowd.

16. My new dog acted squeamish around the other animals.

B. Create Examples/Pictures/RemindersIn the box below each word, draw a picture, write a sentence, or give an example to help you remember the meaning of each word.

Reluctant Solemnly

Grotesque Obscure

Exhilarating Incoherent

Skeptical Squeamish

Vocabulary Quiz: The Great Gatsby Vocabulary List 1

A. Match the correct definition with each vocabulary word.

1. Incoherent ____ A. Easily made to feel sick; afraid to deal with or do things that might offend people; having an unpleasant or doubtful feeling; easily offended.

2. Skepticism ____ B. An attitude of doubt as to the truth of something; doubt; suspicion; uncertainty.

3. Reluctant ____ C. Expressed in a confusing way; unclear; without logical or meaningful connection; not rational.

4. Obscure ____ D. To make cheerful; exciting; inspiring; to enliven or stimulate.

5. Squeamish _____ E. Not clear to the understanding; unnoticed; plain.

6. Solemnly ____ F. A very ugly or comically distorted creature, figure, or image; deformed.

7. Exhilarating ____ G. Something that is done in a serious way.

8. Grotesque ____ H. Unwilling; uncertain; cautious.

B. Fill in the sentences with the correct vocabulary word.

9. The _______________ writer was not well known in the literary community.

10. Even a century after the trial, the town was _______________ to speak of it.

11. Before therapy, the stroke patient spoke with largely _______________ sounds and phrases.

12. Word of mouth has prompted _______________ as well as admiration.

13. There are always some _______________ people that are afraid of heights.

14. It has been a(an) _______________ experience, one of learning and revelation.

15. She looked like some sort of _______________ monster.

16. She lifted up her eyes, and _______________ declared her devotion to him.

C. Respond to the following questions with complete sentences.

17. In what situation would proceeding with skepticism be a good idea? In what situation could being a skeptic harm you?

18. Name a time where you felt reluctant. Explain why.

19. What could cause someone to sound incoherent?

20. Describe an exhilarating experience.

Rationale for Vocabulary Instruction:

This vocabulary instruction ensures that students are not simply memorizing vocabulary word definitions. Students will be challenged to apply the meaning of these words to their own experiences so that they may grasp a better understanding of the meaning. Reading comprehension and vocabulary knowledge are closely related; therefore, it is important that students are able to apply their meanings. The vocabulary instruction shown will help students develop their own meaning of the vocabulary words so that they are not memorizing difficult definitions.

Frontloading Lesson Plan

Day on the Calendar:Objectives:What will students know and be able to do?

SWBAT effectively participate in the pre-reading strategy, and will bring misconceptions about The Great Gatsby to the surface so that when we start the novel they will be able to modify misconceptions during the instructional sequence.

Common Core StandardsAddressed:

CCSS.ELA-Literacy.SL.11-12.1.cPropel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives.

Steps for Instruction:Time: Teacher and Student Actions0:00-0:10 TTW pass out copies of The Great Gatsby by F. Scott Fitzerald. TTW say, “Do

not open the books. For this journal, you will only be looking at the cover of the novel. I would like for you to all think about what we have discussed so far when you were introduced to the author and when we talked about the 1920s. Make a prediction about the book based on the cover and the title. What do you think the book will be about? How can you tell? You will have 5 minutes to write a quick answer in your journals.”TTW will start the time for 5 minutes.When the 5 minutes are up, TTW ask students to volunteer their answers. TTW prompt students to not only answer the questions, but to also provide evidence as to why they think that.

0:10-0:15 There will be 8 poster boards all located in different parts of the classroom. Each poster board will have a different prompt on it: 1) Money can buy happiness. 2) The end justifies the means. 3) In order to be accepted, you must conform to society’s rules.. 4) Old money is higher on the totem pole than New Money. 5) “It’s better to have second-hand diamonds than none at all” –Mark Twain. 7) “Where there’s marriage without love, there will be love without marriage.” –Ben Franklin. 8) “So we beat on, boats against the current, borne ceaselessly into the past.” –Fitzgerald.TTW hand out pens to the students that are all the same color.TTW say, “Located in different areas of the classroom, you will find eight posters. We are going to have what you would call a “gallery walk.” During the gallery walk you will walk around the classroom, to a poster that has a topic or saying that interests you. You will reply to the poster with your own thoughts.

http://www.corestandards.org/ELA-Literacy/SL/11-12/1/c/

You may also respond to what someone else has written. You cannot talk during this activity at all. If you are caught talking, I will first give you a warning, and then if I catch you again you will go back to your desk and I will give you an assignment to complete. Please be kind and respectful to your classmates. Do not write anything inappropriate that may offend someone. You will have 20 minutes to do the gallery walk.”

0:15-0:35 TTW start the timer for 20 minutes. As the students walk around and write on the posters, TTW also walk around and write some comments on the posters in order to evoke deeper thoughts. TTW also ensure that all students are on task and are participating in the gallery walk.

0:35-0:50 When the timer is up, TTW ask students to freeze where they are. TTW say, “I want all of you to go to the poster that you are most interested in having a discussion about. In order to receive a grade for participation today, you all must at least speak once.” TTW allow students to raise their hands and share their thoughts. For students who are reluctant to answer, TTW call on those students to prompt a response. TTW be sure to notify students that there is no correct or incorrect answer and that the sole purpose of the gallery walk is to jog students thinking in preparation for their reading of The Great Gatsby by F. Scott Fitzgerald.

0:50-0:55 TTW say, “All of the ideas that we discussed today stem from the text we will be starting soon. You have already written a journal in the beginning of class where I asked you to make predictions about The Great Gatsby according to the title and the book cover. Knowing what you know now, after the gallery walk, I want you to make a new prediction about the novel. You will have 5 minutes to write a journal and you will turn it in to me as an exit ticket on your way out of class.”

Plan for Assessment:How will you assess whether your students met your objectives?

For pre-assessment, students will be writing a short journal where they make predictions about the text. After the journal there will be a class discussion where the teacher can gage where students are in the lesson. The post-assessment is the exit ticket and also class discussion after the gallery walk where all students will be made aware that they are being graded on participation.

Plan for Differentiation:How will you support struggling

For students who are visual learners, the poster boards are a good activity to allow those students to see the activity on paper. Visual learners will have the opportunity to engage in the gallery walk, which is basically all visual. For auditory learners, TTW be thoroughly explaining the directions. Also, there

readers and writers?

will be a large class discussion after the gallery walk in which visual learners can thrive. For kinesthetic learners, the poster boards are something that will help them engage better in the activity.

Literary Reading Lesson Plan


SWBAT identify the use of symbolism throughout a given text.

SWBAT use meaningful textual evidence in order to explain how the symbols aid in our understanding of main ideas or themes in the novel.


CCSS.ELA-Literacy.RL.11-12.4Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.)

Steps for Instruction:Be sure to include introduction to new material, guided practice, independent practice, and a closing.Time: Teacher and Student Actions0:00-0:10 TTW display a question on the board, “Write about your school mascot. Why is

it a good symbol to represent your school? What are some other symbols that represent things in everyday life?” TTW tell students, “You have two minutes to answer this in your journals. After two minutes, I’m going to call on people at random to share their answers.”While students are writing, TTW check in on slower writers to ensure they are on task.After two minutes, TTW call on a few students at random.TTW facilitate a short class discussion about symbolism. TTW say, “Think of a symbol you have noticed in a movie, book, etc. How did you know it was a symbol?” If no student answers, TTW give the example of the Mocking Jay from “The Hunger Games.” As students begin to answer, TTW write their answers on the board and assemble a list of ways we know if a symbol is a symbol. Students will be asked to write as we go.

0:10-0:20 TTW will explain the class objective and goals for the day: What effect is the writer trying to have by using the literary device, symbolism? How does symbolism contribute to the writer’s main goal in representing themes/ideas? Students will be able to identify symbolism in songs. Students will be able to use textual evidence in order to explain their claims for the meaning of the identified symbols.


TTW give each student 3 copies of the Symbolism Chart. TTW tell students, “As we have briefly explored the use of symbolism already during your journals, today we are going to explore symbolism more in-depth. I am going to play a song. At first, I want you all to just listen and do not write anything on the charts yet.” TTW play the song “Red” by Taylor Swift.TTW then pass out lyrics for the song and will ask students to find an example of a symbol. TTW ask students to volunteer. Students may say something like, “When she says, ‘Losing him was blue like I’ve never known’ blue is a symbol.” TTW will display her copy of the Symbolism Chart on the smart board and will write “Blue” under the symbol column. TTW ask student to also write as she writes. TTW then say, “How is it a symbol? What does it symbolize and how did you know? Was there something in the surrounding text that made you come to this conclusion?” TTW ask another student to answer. TTW write the meaning under the “What does it symbolize?” column. TTW write the evidence under the “How did you know?” column. TTW then ask, “How does this contribute to the meaning or theme of the song?” TTW call on a student to answer and will write the answer under the “How does it help our understanding?” column.TTW say, “Now that I have given you an example of how we use the Symbolism Chart, I would like for you all to try on your own. I am going to put you into pairs and will ask you to do the same. You are going to finish the song we have already started and I will pass out the lyrics for two more songs: “Firework” by Katy Perry and “Drops of Jupiter” by Train. While you work, I will play the songs on repeat. You each have 3 Symbolism Charts; one chart for each song. You have 25 minutes to complete the assignment and will be turning it in to me at the end of class.”

0:20-0:45 TTW put students into pairs and will start the timer. As the students work on their charts, TTW walk around to ensure that all students are on task and will help as needed.When 25 minutes are up, TTW ask students to proceed back to their desks.

0:45-0:55 TTW call on students at random to share their answers. TTW tell students, “The book we have been reading, The Great Gatsby, is loaded with symbolism that is vital to understanding themes in the novel. Tomorrow, we will begin exploring symbolism in the novel. As you walk out of the classroom, please staple and hand in your Symbolism Charts.”

Plan for Assessment:How will you assess whether

At the end of class, students will be handing in their copies of the Symbolism Charts, which will be used for the main assessment for the lesson. Also, TTW will be able to assess students’ understanding during discussion.

your students met your objectives?Plan for Differentiation:How will you support struggling readers and writers?

For auditory learners, the teacher will be playing the songs needed for the lesson also students will have the opportunity to participate in class discussion. TTW will be reading the instructions out loud and modeling the lesson orally. For visual learners, students will be given a copy of the song lyrics and will also be using a chart to record their ideas. The teacher will be recording important ideas on the board. For kinesthetic learners, the students will be using a chart that students are filling out in pairs. For struggling readers, the teacher will be walking around to assist students and also the assigned song will be played out loud. Struggling readers will be paired together so that they do not fall behind. For struggling writers, the teacher will be walking around assisting students during independent practice. Also, the students will be paired according to their abilities, that way the teacher can better monitor students who are struggling.

SYMBOLISM CHART“Red” by Taylor Swift

Symbol What does it symbolize?

How do you know?

How does it help our

understanding?

SYMBOLISM CHART“Firework” by Katy Perry


How do you know?


understanding?

SYMBOLISM CHART“Drops of Jupiter” by Train


How do you know?


understanding?

Link for Taylor Swift “Red”http://www.azlyrics.com/lyrics/taylorswift/red.html

Link for Katy Perry “Firework”http://www.azlyrics.com/lyrics/katyperry/firework.html

Link for Train “Drops of Jupiter”http://www.azlyrics.com/lyrics/train/dropsofjupiter.html

http://www.azlyrics.com/lyrics/train/dropsofjupiter.html

http://www.azlyrics.com/lyrics/katyperry/firework.html

http://www.azlyrics.com/lyrics/taylorswift/red.html

Reading Comprehension Lesson Plan


SWBAT to make inferences about the meaning of the text by making connections to their background knowledge.SWBAT clarify confusing parts of the text using the Clarification Chart.


CCSS.ELA-Literacy.RL.11-12.10By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11-CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.

Steps for Instruction:Be sure to include introduction to new material, guided practice, independent practice, and a closing.Time: Teacher and Student Actions0:00-0 :08 TTW display words on the board, “Alcohol, Flapper, Gangsters, Freedom,

Bootleggers, Jazz, Wild Youth, Prohibition.” TTW ask students, “Collectively, what do all of these words make you think of? Do they make you think of a certain time period? For each of the words, write a brief description about how or why it makes you think of the time period. For example, you may have seen some of these things in a movie, a TV show, in a history class, etc. You will have three minutes to write.”While students are writing, TTW check in on slower writers to ensure they are on task.After three minutes, TTW call on three students at random to explain what they wrote. TTW write common connections that students made on the board.

0:08-0:10 TTW explain to students that they have just used a reading strategy called, “making connections.” TTW tell students, “Today we are going to learn how to use the reading strategy, making connections, to help you all understand unfamiliar or confusing ideas in a text. By making connections in a text, you will be drawing on your background and experiences to help you clarify part of a reading that is confusing to you.” TTW give each student a copy of the short story by Ernest Hemingway, “Hills Like White Elephants.” TTW tell students, “As I read the story aloud, I would like for you all to underline or highlight parts of the text that are confusing to you.” TTW ask students if they have any questions so far, and if so, TTW clarify anything the students may be unclear about.

0:10-0:15 TTW read the story to students out loud as they follow along and


underline/highlight as instructed.0:15-0:25 TTW display a blank copy of the Clarification Chart on the projector. The

Clarification Chart has four categories, “Roadblock (What it says?); Question (What’s confusing?); Strategy (My next step); Clarification (What I think it means).” TTW ask a student to volunteer and tell the class a part of the text that they underlined/highlighted. A student might say something like, “A part of the story that I underlined was when the girl was talking about the hills and she said, ‘They look like white elephants.’” TTW write this down under the Roadblock section of the Clarification Chart. TTW ask if any other students marked this section as confusing. If another student marked the same part, TTW ask, “What was confusing to you about this part of the story?” The student may say something like, “Because how can a hill look like a white elephant? And it says the country was brown and dry right before that, so how can the hills look white just because of the sun? And I know this part is important because it is the name of the story, but I don’t get why it is important. It just doesn’t make sense at all.” TTW record some of the student’s statements in the Question section of the Clarification Chart. TTW ask if any other students have another reason as to why this section was confusing. If so, TTW also record these thoughts in the Question section of the chart. TTW then ask, “What is the next step we should take to figure out what this part of the story means? Does anyone have a suggestion for what we can do to help us understand this part? So the problem we are having with this section is that we do not understand how the hills appear to be white elephants. Anyone have any ideas about what we can do to clarify this part?” TTW ask students to raise their hands if they may have any ideas, if no student raises their hand, TTW call on a student at random. A student may say something like, “Well I would probably picture what an elephant looks like and then maybe picture what a hill looks like in the sun. Since we don’t have a lot of hills here I would try to think of where I have seen hills before maybe like in a movie or something.” TTW write this in in the Strategy box of the chart. TTW explain that not every student will use the same strategy to try to clarify. TTW ask students to volunteer to try to come to a conclusion about what they think it means. A student might say something like, “I think that the sun it probably hitting the hill in the right way to make it look like it’s white. And she probably thinks it looks like an elephant because like the hump on the elephant’s back.” TTW ask if students came up with separate meanings, and if so, TTW write them in the Clarification box on the chart. TTW explain that we just used the reading strategy called, making connections in order to get through a roadblock in the text. TTW explain that students have used knowledge that they already have to clear up confusion. TTW explain that they also used evidence from the text to help clear up the meaning of a

confusing part of the text.0:25-0:45 TTW pass out copies of the Clarification Chart to each student and will put

student into pairs of two. TTW say, “Use your copy of “Hills Like White Elephants” where you marked confusing parts of the texts to fill out the rest of the Clarification Chart with your partner just as we did together as a class. You and your partner will decide which parts of the text you were most confused about and will work together to come to a conclusion about what it might mean. I will be walking around to mark your progress, so if you have any questions, raise your hand. You will be given 15 minutes to complete this assignment. Write your name and your partners name at the top; I will be picking your charts up at the end of class so that I can mark your progress.” TTW give students 1 minute to get into their pairs and move around desks. When all students are situated, TTW start the timer for 15 minutes. TTW walk around as students work on their charts and make sure students are going in the right direction.

0:45-0:47 Once the timer goes off TTW ask students to take their Clarification Charts and head back to their own desks. TTW ask students if they understand the story better after completing the Clarification Chart. TTW ask a few students to raise their hands and give an example of a connection they made that helped them clarify a roadblock from the story.

0:47-0:50 TTW display a short assignment on the board that is to be used as an exit ticket, “Write one short paragraph explaining a strategy that you used in order to clarify a roadblock from the story. What steps did you take to figuring out the meaning?” TTW tell students to write their answers on an index card. Students will work on this short assignment until the bell rings. Students will hand their index card to the teacher as they walk out the door. TTW tell students to read Chapters 1 and 2 of The Great Gatsby for their homework assignment.


There are three opportunities to assess students’ progress during this lesson. Students will be assessed during class discussion, the teacher will collect students’ Clarification Charts to assess their understanding, and also the teacher will use the students’ exit tickets to assess students’ understanding.

Plan for Differentiation:How will you support struggling

For auditory learners, the teacher will read the assigned text aloud and also students will have the opportunity to participate in class discussion. For visual learners, students will be given a copy of the assigned reading and will also be using a chart to record their ideas. The teacher will be recording important ideas on the board. For kinesthetic learners, the students will be using a chart

readers and writers?

that students are filling out in pairs. For struggling readers, the teacher will be reading the text aloud. For struggling writers, the teacher will be walking around assisting students during independent practice. Also, the students will be paired according to their abilities, that way the teacher can better monitor students who are struggling.

Clarification ChartHills Like White Elephants by Ernest Hemingway

Roadblock(What it says)

Question(What’s

confusing?)

Strategy(My next Step)

Clarification(What I think it

means)

Discussion Lesson Plan


SWBAT to effectively participate in group discussion, one-on-one discussion, and teacher-led discussion.SWBAT build on the ideas of others during discussion and will be able to express their own analysis persuasively.SWBAT prove their interpretations of the novel by taking it back to the text.


CCSS.ELA-Literacy.SL.11-12.1Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

Steps for Instruction:Time: Teacher and Student Actions0:00-0:10 TTW pass out copies to each student of The Tale of King Midas. Students will

be asked to read the story silently and answer the discussion questions at the end of the story, individually, by writing a sentence or two for each question. 1) Why did King Midas wish for what he did? And why did Dionysus grant the wish even though he knew it was a bad idea? 2) The idea of King Midas’ greed is mentioned. What does this tell us about the story’s theme? 3) Why does King Midas want to be freed from his wish? 4) How does King Midas change throughout the story? What may he be learning about himself? Students will have 10 minutes to complete the questions.

0:10-0:15 TTW say, “Yesterday, we learned about symbolism. Throughout our unit, we will be practicing how to identify symbols in literature. One of the most important parts about identifying the meaning of a symbol, is being able to back up your claim using evidence from the text. We are going to call this “taking it back to the text.”TTW read aloud what she has written on the board: “Taking it back to the text” means proving your interpretation or your point of view with evidence from the book. “Taking it back to the text” is important because it challenges us to defend our thinking, it forces us to make valid interpretations, and it anchors our discussion so that we don’t wander off topic. The way to incorporate this skill into your discussion is to ask your group members the following questions if they don’t support their points:

Just what in the book makes you say that? Can you show us where you got that idea?

http://www.corestandards.org/ELA-Literacy/SL/11-12/1/

Where’s your evidence for that point?0:15-0:25 TTW will model using the first discussion question from The Tale of King

Midas. TTW say, “Think about the answer to the first question: King Midas was obsessed with gold, even though he was already rich, because he was greedy. Dionysus grants his wish, even though he knows it is bad, to teach King Midas a lesson about greed. And then take it back to the text. I say this because in the second paragraph it talks about how King Midas was fonder of gold than anything else, meaning even over his daughter. Dionysus asks King Midas if he will regret having made the wish.TTW call on a student at random to give an answer for question 2. After the student responds, TTW say, “Prove it!” And the student will find evidence from the text to support his/her response.TTW say, “Now I am going to split you up into your groups for Literature Circles. Be sure in your groups to use the strategies we have just practiced. When one of your group members answers the question, don’t accept their interpretation unless they offer some proof behind it!”

0:25-0:55 TTW place students into groups of three. TTW pass out instruction sheets that describe the protocol for Literature Circles. TTW will review the instructions orally with students and will clarify any confusion. Students will be given 28 minutes all together for literature circles. Students are to conduct Literature Circles, according to the instructions, in the following order:

1. Decide on today’s roles for your group and list roles at the top of your loose-leaf. (recorder, facilitator, and summarizer) (1 min.)

2. One student (summarizer) goes over the plot summary to make sure everyone is on the same page (2 min).

3. Students ask each other clarifying questions about the story (everyone) (5 min).

4. Students will create discussion questions and will identify symbols in the story. (5 min).

5. Facilitator runs discussion based on the questions they came up with and will talk about the symbols and how they relate to the themes: greed, freewill, etc. Recorder will write answers and evidence from the text on loose-leaf. (15 min).

As students are working in their groups, TTW walk around to assist and make sure all students are on task and will give feedback to students to ensure that they are on the right track.At the end of class, students each group will turn in their work to the teacher.


Students will be assessed by the teacher during class discussion. TTW be able to tell whether students have met objectives by the way they participate in discussion and whether or not they effectively use evidence to support their answers. Students will also be assessed when they hand in the group work from their Literature Circles in the same way. The teacher will give feedback to groups/students as she walks around while they are working.

Plan for Differentiation:How will you support struggling readers and writers?

During group work, each student will have a specific job. Students will have the opportunity to discuss which position they are most comfortable fulfilling. For students who are not very outspoken, they will have the opportunity to be the recorder of the group. For students who are auditory learners, they can be the facilitator of the group. The teacher will choose groups according to the students’ learning abilities. Students who are struggling writers will be placed with student who struggle the same, that way the teacher can monitor those groups. Students who are struggling readers will also be placed with other struggling readers for the same reason.

TURNING EVERYTHING INTO GOLD

ONCE upon a time, there lived a very rich man, and a king besides, whose name was Midas; and he had a little daughter, whom nobody but myself ever heard of, and whose name I either never knew, or have entirely forgotten. So, because I love odd names for little girls, I choose to call her Marygold.

This King Midas was fonder of gold than of anything else in the world. He valued his royal crown chiefly because it was composed of that precious metal. If he loved anything better, or half so well, it was the one little maiden who played so merrily around her father's footstool. But the more Midas loved his daughter, the more did he desire and seek for wealth. He thought, foolish man! that the best thing he could possibly do for this dear child would be to bequeath her the immensest pile of yellow, glistening coin that had ever been heaped together since the world was made. Thus, he gave all his thoughts and all his time to this one purpose. If ever he happened to gaze for an instant at the gold-tinted clouds of sunset, he wished that they were real gold, and that they could be squeezed safely into his strong box. When little Marygold ran to meet him, with a bunch of buttercups and dandelions, he used to say, "Poh, poh, child! If these flowers were as golden as they look, they would be worth the plucking !"

And yet, in his earlier days, before he was so entire1y possessed of this insane desire for riches, King Midas had shown a great taste for flowers. He had planted a garden, in which grew the biggest and beautifulest and sweetest roses that any mortal ever saw or smelt. These roses were still growing in the garden, as large, as lovely, and as fragrant, as when Midas used to pass whole hours in gazing at them, and inhaling their perfume. But now, if he looked at them at all, it was only to calculate how much the garden would be worth if each of the innumerable rose petals were a thin plate of gold. And though he once was fond of music (in spite of an idle story about his ears, which were said to resemble those of an ass), the only music for poor Midas, now, was the chink of one coin against another.

At length (as people always grow more and more foolish, unless they take care to grow wiser and wiser), Midas had got to be so exceedingly unreasonable that he could scarcely bear to see or touch any object that was not gold. He made it his custom, therefore, to pass a large portion of every day in a dark and dreary apartment, under pound, at the basement of his palace. It was here that he kept his wealth. To this dismal hole --for it was little better than a dungeon--Midas betook himself whenever he wanted to be particularly happy. Here, after carefully locking the door, he would take a bag of gold coin, or a gold cup as big as a washbowl, or a heavy golden bar, or a peek-measure of gold-dust, and bring them from the obscure corners of the room into the onebright and narrow sunbeam that fell from the dungeon-like window. He valued the sunbeam for no other reason but that his treasure would not shine without its help. And then would he reckon over the coins in the bag; toss up the bar, and catch it as it came down; sift the gold-dust through his fingers; look at the funny image of his own face, as reflected in the burnished circumference of the cup; and whisper to himself, "O Midas, rich King Midas, what a happy man art thou !" But it was laughable to see how the image of his face kept grinning at him, out of the polished surface of the cup. It seemed to be aware of his foolish behavior, and to have a naughty inclination to make fun of him.

Midas called himself a happy man, but felt that he was not yet quite so happy as he might be. The very tiptop of enjoyment would never be reached, unless the whole world were to become his treasure-room, and be filled with yellow metal which should be all his own.

Now, I need hardly remind such wise little people as you are, that in the old, old times, when King Midas was alive, a great many things came to pass which we should consider wonderful if they were to happen in our own day and country. And, on the other hand, a great many things take place nowadays, which seem not only wonderful to us, but at which the people of old times would have stared their eyes out. On the whole, I regard our own times as the strangest of the two; but, however that may be, I must go on with my story.

Midas was enjoying himself in his treasure-room, one day, as usual, when he perceived a shadow fall over the heaps of gold, and, looking suddenly up, what should he behold but the figure of a stranger, standing in the bright and narrow sunbeam ! It was a young man, with a cheerful and ruddy face. Whether it was that the imagination of King Midas threw a yellow tinge over everything, or whatever the cause might be, he could not help fancying that the smile with which the stranger regarded him had a kind of golden radiance in it. Certainly, although his figure intercepted the sunshine, there was now a brighter gleam upon all the piled-up treasures than before. Even the remotest corners had their share of it, and were lighted up, when the stranger smiled, as with tips of flame and sparkles of fire.

As Midas knew that he had carefully turned the key in the lock, and that no mortal strength could possibly break into his treasure-room, he, of course, concluded that his visitor must be something more than mortal. It is no matter about telling you who he was. In those days, when the earth was comparatively a new affair, it was supposed to be often the resort of beings endowed with supernatural power, and who used to interest themselves in the Joys and sorrows of men, women, and children, half playfully and half seriously. Midas had met such beings before now, and was not sorry to meet one of them again. The stranger's aspect, indeed, was so good-humored and kindly, if not beneficent, that it would have been unreasonable to suspect him of intending any mischief. It was far more probable that he came to do Midas a favor. And what could that favor be, unless to multiply his heaps of treasure?

The stranger gazed about the room; and when his lustrous smile had glistened upon all the golden objects that were there, he turned again to Midas.

"You are a wealthy man, friend Midas !" he observed. "I doubt whether any other four walls, on earth, contain so much gold as you have contrived to pile up in this room."

"I have done pretty well--pretty well," answered Midas in a discontented tone. "But, after all, it is but a trifle, when you consider that it has taken me my whole life to get it together. If one could live a thousand years, he might have time to grow rich !"

"What !" exclaimed the stranger. "Then you are not satisfied?"

Midas shook his head.

"And pray what would satisfy you?" asked the stranger. "Merely for the curiosity of the thing, I should be glad to know."

Midas paused and meditated. .He felt a presentiment that this stranger, with such a golden luster in his good-humored smile, had come hither with both the power and the purpose of gratifying his utmost wishes. Now, therefore, was the fortunate moment, when he had but to speak, and obtain whatever possible, or seemingly impossible thing, it might come into his head to ask. So he thought, and thought, and thought, and heaped up one golden mountain upon another, in his imagination, without being able to imagine them big enough. At last, a bright idea occurred to King Midas. It seemed really as bright as the glistening metal which he loved so much.

Raising his head, he looked the lustrous stranger in the face.

"Well, Midas," observed his visitor, "I see that you have at length hit upon something that will satisfy you. Tell me your wish."

"It is only this," replied Midas. "I am weary of collecting my treasures with so much trouble, and beholding the heap so diminutive, after I have done my best. I wish everything that I touch to be changed to gold !"

The stranger's smile grew so very broad, that it seemed to fill the room like an outburst of the sun, gleaming into a shadowy dell, where the yellow autumnal leaves--for so looked the lumps and particles of gold--lie strewn in the glow of light.

"The Golden Touch !" exclaimed he. "You certainly deserve credit, friend Midas, for striking out so brilliant a conception. But are you quite sure that this will satisfy you?"

"How could it fail?" said Midas.

"And will you never regret the possession of it?"

"What could induce me ?" asked Midas. "I ask nothing else, to render me perfectly happy."

"Be it as you wish, then," replied the stranger, waving his hand in token of farewell. "To-mor-row at sunrise, you will find yourself gifted with the Golden Touch."

The figure of the stranger then became exceedingly bright, and Midas involuntarily closed his eyes. On opening them again, he beheld only one yellow sunbeam in the room, and, all around him, the glistening of the precious metal which he had spent his life in hoarding up.

Whether Midas slept as usual that night, the story does not say. Asleep or awake, however, his mind was probably in the state of a child's, to whom a beautiful new plaything has been promised in the morning. At any rate, day had hardly peeped over the hills, when King Midas was broad awake, and, stretching his arms out of bed, began to touch the objects that were within reach. He was anxious to prove whether the Golden Touch had really come, according to the stranger's promise. So he laid his finger on a chair by the bedside, and on various other things, but was grievously disappointed to perceive that they remained of exactly the same substance as before. Indeed, he felt very much afraid that he had only dreamed about the lustrous stranger, or else that the latter had been making game of him. And what a miserable affair would it be, if, after all his hopes, Midas must content himself with what little gold he could scrape together by ordinary means, instead of creating it by a touch!

All this while, it was only the gray of the morning, with but a streak of brightness along the edge of the sky, where Midas could not see it. He lay in a very disconsolate mood, regretting the down-fall of his hopes, and kept growing sadder and sadder, until the earliest sunbeam shone through the window, and gilded the ceiling over his head. It seemed to Midas that this bright yellow sunbeam was reflected in rather a singular way on the white covering of the bed. Looking more closely, what was his astonishment and delight, when he found that his linen fabric had been transmuted to what seemed a woven texture of the purest and brightest gold ! The Golden Touch had come to him with the first sunbeam!

Midas started up, in a kind of joyful frenzy, and ran about the room, grasping at everything that happened to be in his way. He seized one of the bed-posts, and it became immediately a fluted golden pillar. He pulled aside a window curtain, in order to admit a clear spectacle of the wonders which he was performing; and the tassel grew heavy in his hand--a mass of gold. He

took up a book from the table. At his first touch, it assumed the appearance of such a splendidly bound and gilt-edged volume as one often meets with nowadays; but, on running his fingers through the leaves, behold ! it was a bundle of thin golden plates, in which all the wisdom of the book had grown illegible. He hurriedly put on his clothes, and was enraptured to see himself in a magnificent suit of gold cloth, which retained its flexibility and softness, although it burdened him a little with its weight. He drew out his handkerchief, which little Marygold had hemmed for him. That was likewise gold, with the dear child's neat and pretty stitches running all along the border, in gold thread !

Somehow or other, this last transformation did not quite please King Midas. He would rather that his little daughter's handiwork should have remained just the same as when she climbed his knee and put it into his hand.

But it was not worth while to vex himself about a trifle. Midas now took his spectacles from his pocket, and put them on his nose, in order that he might see more distinctly what he was about. In those days, spectacles for common people had not been invented, but were already worn by kings; else, how could Midas have had any? To his great perplexity, however, excellent as the glasses were, he discovered that he could not possibly see through them. But this was the most natural thing in the world; for, on taking them off, the transparent crystals turned out to be plates of yellow metal, and, of course, were worthless as spectacles, though valuable as gold. It struck Midas as rather inconvenient that, with all his wealth, he could never again be rich enough to own a pair of serviceable spectacles.

"It is no great matter, nevertheless," said he to himself, very philosophically. "We cannot expect any great good, without its being accompanied with some small inconvenience. The Golden Touch is worth the sacrifice of a pair of spectacles, at least, if not of one's very eyesight. My own eyes will serve for ordinary purposes, and little Marygold will soon be old enough to read to me."

Wise King Midas was so exalted by his good fortune, that the palace seemed not sufficiently spacious to contain him. He therefore-went down stairs, and smiled, on observing that the balustrade of the staircase became a bar of burnished gold, as his hand passed over it, in his descent. He lifted the door-latch (it was brass only a moment ago, but golden when his fingers quitted it), and emerged into the garden. Here, as it happened, he found a great number of beautiful roses in full bloom, and others in all the stages of lovely bud and blossom. Very delicious was their fragrance in the morning breeze. Their delicate blush was one of the fairest sights in the world; so gentle, so modest, and so full of sweet tranquillity, did these roses seem to be.

But Midas knew a way to make them far more precious, according to his way of thinking, than roses had ever been before. So he took great pains in going from bush to bush, and exercised his magic touch most indefatigably; until every individual flower and bud, and even the worms at the heart of some of them, were changed to gold. By the time this good work was completed, King Midas was summoned to breakfast; and as the morning air had given him an excellent appetite, he made haste back to the palace.

What was usually a king's breakfast in the days of Midas, I really do not know, and cannot stop now to investigate. To the best of my belief, however, on this particular morning, the breakfast consisted of hot cakes, some nice little brook trout, roasted potatoes, fresh boiled eggs, and coffee, for King Midas himself, and a bowl of bread and milk for his daughter Marygold. At all events, this is a breakfast fit to set before a king; and, whether he had it or not, King Midas could not have had a better.

Little Marygold had not yet made her appearance. Her father ordered her to be called, and, seating himself at table, awaited the child's coming, in order to begin his own breakfast. To do Midas justice, he really loved his daughter, - and loved her so much the more this morning, on

account of the good fortune which had befallen him. It was not a great while before he heard her coming along the passageway crying bitterly. This circumstance surprised him, because Marygold was one of the cheerfullest little people whom you would see in a summer's day, and hardly shed a thimbleful of tears in a twelvemonth. When Midas heard her sobs, he determined to put little Marygold into better spirits, by an agreeable surprise; so, leaning across the table, he touched his daughter's bowl (which was a china one, with pretty figures all around it}, and transmuted it to gleaming gold.

Meanwhile, Marygold slowly and disconsolately opened the door, and showed herself with her apron at her eyes, still sobbing as if her heart would break.

"How now, my little lady !" cried Midas. "Pray what is the matter with you, this bright morning?"

Marygold, without taking the apron from her eyes, held out her hand, in which was one of the roses which Midas had so recently transmuted.

"Beautiful!" exclaimed her father. "And what is there in this magnificent golden rose to make you cry?"

"Ah, dear father!" answered the child, as well as her sobs would let her; "it is not beautiful, but the ugliest flower that ever grew! As soon as I was dressed I ran into the garden to gather some for you; because I know you like them, and like them the better when gathered by your little daughter. But, oh dear, dear me! What do you think has happened? Such a misfortune! All the roses, that smelled so sweetly and had so many lovely blushes, are blighted and spoilt ! They are grown quite yellow, as you see this one, and have no longer any fragrance! What can have been the matter with them?"

"Poh, my dear little girl--pray don't cry about it !" said Midas, who was ashamed to confess that he himself had wrought the change which so greatly afflicted her. "Sit down and eat your bread and milk ! You will find it easy enough to exchange a golden rose like that (which will last hundreds of years) for an ordinary one which would wither in a day."

"I don't care for such roses as this !" cried Mary-gold, tossing it contemptuously away. "It has no smell, and the hard petals prick my nose !"The child now sat down to table, but was so occupied with her grief for the blighted roses that she did not even notice the wonderful transmutation of her china bowl. Perhaps this was all the better; for Marygold was accustomed to take pleasure in looking at the queer figures, and strange trees and houses, that were painted on the circumference of the bowl; and these ornaments were now entirely lost in the yellow hue of the metal.

Midas, meanwhile, had poured out a cup of coffee, and, as a matter of course, the coffee-pot, whatever metal it may have been when he took it up, was gold when he set it down. He thought to himself, that it was rather an extravagant of splendor, in a king of his simple habits, to breakfast off a service of gold, and began to be puzzled with the difficulty of keeping his treasures safe. The cupboard and the kitchen would no longer be a secure place of deposit for articles so valuable as golden bowls and coffee-pots.

Amid these thoughts, he lifted a spoonful of coffee to his lips, and, sipping it, was astonished to perceive that, the instant his lips touched the liquid, it became molten gold, and, the next moment hardened into a lump !

"Ha!" exclaimed Midas, rather aghast. "What is the matter, father?" asked little Mary-gold, gazing at him, with the tears still standing in her eyes.

"Nothing, child, nothing !" said Midas. "Eat your milk, before it gets quite cold."

He took one of the nice little trouts on his plate, and, by way of experiment, touched its tail with his finger. To his horror, it was immediately transmuted from an admirably fried brook-trout into a gold-fish, though not one of those gold-fishes which people often keep in glass globes, as ornaments for the parlor. No; but it was really a metallic fish, and looked as if it had been very cunningly made by the nicest goldsmith in the world. Its little bones were now golden wires; its fins and tail were thin plates of gold; and there were the marks of the fork in it, and all the delicate, frothy appearance of a nicely fried fish, exactly imitated in metal. A very pretty piece of work, as you may suppose; only King Midas, just at that moment, would much rather have had a real trout in his dish than this elaborate and valuable imitation of one.

"I don't quite see," thought he to himself, "how I am to get any breakfast !"

He took one of the smoking-hot cakes, and had scarcely broken it, when, to his cruel mortification, though, a moment before, it had been of the whitest wheat, it assumed the yellow hue of Indian meal. To say the truth, if it had really been a hot Indian cake, Midas would have prized it a good deal more than he now did, when its solidity and increased weight made him too bitterly sensible that it was gold. Almost in despair, he helped himself to a boiled egg, which immediately underwent a change similar to those of the trout and the cake. The egg, indeed, might have been mistaken for one of those which the famous goose, in the story-book, was in the habit of laying; but King Midas was the only goose that had had anything to do with the matter.

"Well, this is a quandary!" thought he, leaning back in his chair, and looking quite enviously at little Marygold, who was not eating her bread and milk with great satisfaction. "Such a costly breakfast before me, and nothing that can be eaten !"

Hoping that, by dint of great dispatch, he might avoid what he now felt to be a considerable inconvenience, King Midas next snatched a hot potato, and attempted to cram it into his mouth, and swallow it in a hurry. But the Golden Touch was too nimble for him. He found his mouth full, not of mealy potato, but of solid metal, which so burnt his tongue that he roared aloud, and, jumping up from the table, began to dance and stamp about the room both with pain and aftright.

"Father, dear father !" cried little Marygold, who was a very affectionate child, "pray what is the matter? Have you burnt your mouth?"

"Ah, dear child," groaned Midas, dolefully, "I don't know what is to become of your poor father !"

And, truly, my dear little folks, did you ever hear of such a pitiable case in all your lives ? Here was literally the richest breakfast that could be set before a king, and its very richness made it absolutely good for nothing. The poorest laborer, sitting down to his crust of bread and cup of water, was far better off than King Midas, whose delicate food was really worth its weight in gold. And what was to be done ? Already, at breakfast, Midas was excessively hungry. Would he be less so by dinner-time ? And how ravenous would be his appetite for supper, which must undoubtedly consist of the same sort of indigestible dishes as those now before him ! How many days, think you, would he survive a ..continuance of this rich fare ?

These reflections so troubled wise King Midas, that he began to doubt whether, after all, riches are the one desirable thing in the world, or even the most desirable. But this was only a passing

thought. So fascinated was Midas with the glitter of the yellow metal, that he would still have refused to give up the Golden Touch for so paltry a consideration as a breakfast. Just imagine what a price for one meal's victuals. It would have been the same as paying millions and millions of money (and as many millions more as would take forever to reckon up) for some fried trout, an egg, a potato, a hot cake, and a cup of coffee !

"It would be quite too dear," thought Midas.

Nevertheless, so great was his hunger, and the perplexity of his situation, that he again groaned aloud, and very grievously, too. Our pretty Marygold could endure it no longer. She sat, a moment, gazing at her father, and trying, with all the might of her little wits, to find out what was the matter with him. Then, with a sweet and sorrowful impulse to comfort him, she started from her chair, and, running to Midas, threw her arms affectionately about his knees. He bent down and kissed her. He felt that his little daughter's love was worth a thousand times more than he had gained by the Golden Touch.

"My precious, precious Marygold !" cried he.

But Marygold made no answer.

Alas, what had he done? How fatal was the gift which the stranger bestowed! The moment the lips of Midas touched Marygold's forehead, a change had taken place. Her sweet, rosy face, so full of affection as it had been, assumed a glittering yellow color, with yellow tear-drops, congealing on her cheeks. Her beautiful brown ringlets took the same tint. Her soft and tender little form grew hard and inflexible within her father's encircling arms. Oh, terrible misfortune! The victim of his insatiable desire for wealth, little Marygold was a human child no longer, but a golden statue !

Yes, there she was, with the questioning look of love, grief, and pity, hardened into her face. It was the prettiest and most woeful sight that ever mortal saw. All the features and tokens of Marygold were there; even the beloved little dimple remained in her gold chin. But, the more perfect was the resemblance, the greater was the father's agony at beholding this golden image, which was all that was left him of a daughter. It had been a favorite phrase of Midas, whenever he felt particularly fond of the child, to say that she was worth her weight in gold. And now the phrase had become literally true. And now, at last, when it was too late, he felt how infinitely a warm and tender heart that loved him, exceeded in value all the wealth that could be piled up betwixt the earth and sky !

It would be too sad a story, if I were to tell you how Midas, in the fulness of all his gratified desires, began to wring his hands and bemoan himself; and how he could neither bear to look at Marygold, nor yet to look away from her. Except when his eyes were fixed on the image, he could not possibly believe that she was changed to gold. But, stealing another glance, there was the precious little figure, with a yellow tear-drop on its yellow cheek, and a look so piteous and tender, that it seemed as if that very expression must needs soften the gold and make it flesh again. This, however, could not be. So Midas had only to wring his hands, and to wish that he were the poorest man in the wide world, if the loss of all his wealth might bring back the faintest rose-color to his dear child's face.

While he was in this tumult of despair, he suddenly beheld a stranger standing near the door. Midas bent down his head, without speaking; for he recognized the same figure which had appeared to him, the day before, in the treasure-room, and had bestowed on him this disastrous faculty of the Golden Touch. The stranger's countenance still wore a smile, which seemed to shed a yellow luster all about the room, and gleamed on little Marygold's image, and on the other objects that had been transmuted by the touch of Midas.

"Well, friend Midas," said the stranger, '{pray how do you succeed with the GoldenTouch.?'' Midas shook his head.

"I am very miserable," said he.

"Very miserable, indeed !" exclaimed the stranger. "And how happens that? Have I not faithfully kept my promise with you? Have you not everything that your heart desired?''

"Gold is not everything," answered Midas. "And I have lost all that my heart really cared for."

"Ah! So you have made a discovery, since yesterday?" observed the stranger. "Let us see, then. Which of these two things do you think is really worth the most--the gift of the Golden Touch, or one cup of clear cold water?''

"0 blessed water !" exclaimed Midas. "It will never moisten my parched throat again!"

"The Golden Touch," continued the stranger, "or a crust of bread?"

"A piece of bread," answered Midas, "is worth.' all the gold on earth !"

"The Golden Touch," asked the stranger, "or your own little Marygold, warm, soft and loving as she was an hour ago?"

"Oh my child, my dear child I" cried poor Midas, .wringing his hands. "I would not have given that one small dimple in her chin for the power of changing this whole big earth into a solid lump of gold I"

"You are wiser than you were, King Midas !" said the stranger, looking seriously at him. "Your own heart, I perceive, has not been entirely changed from flesh to gold. Were it so, your ease would indeed be desperate. But you appear to be still capable of understanding that the commonest things, such as lie within everybody's grasp, are more valuable than the riches which so many mortals sigh and struggle after. Tell me, now, do you sincerely desire to rid yourself of this Golden Touch ?"

"It is hateful to me !" replied Midas.

A fly settled on his nose, but immediately fell to the floor; for it, too, had become gold. Midas shuddered.

"Go, then," said the stranger, "and plunge into the river that glides past the bottom of your garden. Take likewise a vase of the same water, and sprinkle it over any object that you may desire to change back again from gold into its former substance. If you do this in earnestness and sincerity, it may possibly repair the mischief which your avarice has occasioned."

King Midas bowed low; and when he lifted his head, the lustrous stranger had vanished.

You will easily believe that Midas lost no time in snatching up a great earthen pitcher (but, alas me! it was no longer earthen after he touched it}, hastening to the river-side. As he scampered and forced his way through the shrubbery, it was positively marvellous to see how the foliage yellow behind him, as if the autumn had there, and nowhere else. On reaching the river's brink, he plunged headlong in, without waiting so much as to pull off his shoes.

"Poof! poof! poof!" snorted King Midas, as his head emerged out of the water. "Well; this is really a refreshing bath, and I think it must have quite washed away the Golden Touch. And now for filling my pitcher !"

As he dipped the pitcher into the water, it gladdened his very heart to see it change from gold into the same good, honest earthen vessel which it had been before he touched it. He was conscious, also, of a change within himself. A cold, hard, and heavy weight seemed to have gone out of his bosom. No doubt, his heart had been gradually losing its human substance, and transmuting itself into insensible metal, but had now softened back again into flesh. Perceiving a violet, that grew on the bank of the river, Midas touched it with his finger, and was overjoyed to find that the delicate flower retained its purple hue, instead of undergoing a yellow blight. The curse of the Golden Touch had, therefore, really been removed from him.

King Midas hastened back to the palace; and, I suppose, the servants knew not what to make of it when they saw their royal master so carefully bringing home an earthen pitcher of water. But that water, which was to undo all the mischief that his folly had wrought, was more precious to Midas than an ocean of molten gold could have been. The first thing he did, as you need hardly be told, to sprinkle it by handfuls over the golden figure of little Marygold.

No sooner did it fall on her than you would laughed to see how the rosy color came back the dear child's cheek! and how she began to sneeze and sputter !--and how astonished she was to find herself dripping wet, and her father still throwing more water over her!

"Pray do not, dear father!" cried she. "See how you have wet my nice frock, which I put on only. this morning !"

For Marygold did not know that she had been a little golden statue; nor could she rememberanything that had happened since the moment she ran with outstretched arms to comfort King Midas. '

Her father did not think it necessary to tell his beloved child how very foolish he had been, but contented himself with showing how much wiser he had now grown. For this purpose, he led little Marygold into the garden, where he sprinkled the remainder of the water over the rose-bushes, and with such good effect that above five thousand roses recovered their beautiful bloom. There were two circumstances, however, which, as long as he lived, used to put King Midas in mind of the Golden Touch. One was, that the sands of the river sparkled like gold; the other, that little Marygold's hair had now a golden tinge, which he had never observed in it before she had been transmuted by the effect of his kiss. This change of hue was really an improvement, and made Marygold's hair richer than in her babyhood.

When King Midas had grown quite an old man and used to trot Marygold's children on his knee he was fond of telling them this marvellous story, pretty much as I have told it to you. And then would he stroke their glossy ringlets, and tell them that their hair, likewise, had a rich shade of gold, which they had inherited from their mother.

"And to tell you the truth, my precious little folks," quoth King Midas, diligently trotting the children all the while, "ever since that morning, I have hated the very sight of all other gold, save this !"

By Nathaniel Hawthorne

P.F.Collier & Son Corporation

Junior Classics

Tales From Greece and Rome

Copyright 1912

References

"AZLyrics - Song Lyrics from A to Z." AZLyrics - Song Lyrics from A to Z. Web. 2 Dec. 2014. <http://www.azlyrics.com/index.html>.

Charters, Ann, and Ernest Hemingway. The Story and Its Writer: An Introduction to Short Fiction. 6th ed. Boston: Bedford of St. Martin's, 2003. Print.

Eliot, T.S. "The Waste Land." Bartleby. 1 Jan. 1922. Web. 2 Dec. 2014. <http://www.bartleby.com/201/1.html>.

Fitzgerald, F. Scott. The Great Gatsby. New York, NY: Scribner, 2004. Print.

Hawthorne, Nathaniel. "Turning Everything into Gold." Pure Gold Fables & Fairy Tales. P.F. Collier & Son Corporation, 1 Jan. 1912. Web. 1 Dec. 2014. <http://fairytales4u.com/story/turning.htm>.

Padak, Nancy, Karen Bromley, Tim Rasinski, and Evangeline Newton. "Vocabulary: Five Misconceptions." Strong Readers All 69: 1-5. Web. 2 Dec. 2014.

Venson, Emily. "Reading Workshop: Taking it Back to the Text." , . 23 Mar. 2007.

Dear Colleagues,

Using backwards design can, at first, be a confusing task; however, after planning this

unit, I realize that it is the only competent way to plan for instruction. Since the first thing I had

done was set out my goals and objectives for the unit, throughout the course of planning I

continuously reverted back to my unit objectives in order to determine if I was on the right track.

The second thing that I completed for the unit was the culminating assessment. While planning

the activities for the unit, backwards design made it much easier for me to be sure that my goals

were aligned with the instruction I was planning.

There were various class discussions, activities, and readings that helped to shape my

unit. In our textbook, Strategic Reading, I learned how I wanted to shape my Reading

Comprehension Lesson Plan. My unit focuses on two reading comprehension strategies: making

connections and using textual evidence. By making connections, students are drawing on past

experiences and knowledge in order to clarify a roadblock that may be confusing from the text.

By using textual evidence to back up their claims, during this unit students will learn how to

make a competent and well-informed argument. From the text, Strategic Reading, I also

incorporated an activity in which students use a Clarification Chart to help them develop skills

for the reading strategy, making connections. During the unit, students practice using textual

evidence during the discussion lesson plan.

One piece of instruction that we studied in class was Emily Venson’s discussion lesson

plan, accompanied by a video. Emily Venson is teaching a discussion strategy called Literature

Circles with the main focus being on “taking it back to the text.” My discussion lesson was

inspired by Emily Venson’s lesson. Reading her lesson and watching the video helped me to

understand what an effective class discussion looks like. Using Literature Circles is a good way

to incorporate collaboration, independence, and discussion. In class, during our readings of

Speak, Jasmine, and Monster, we practiced facilitating discussions. I had the opportunity to

create discussion questions for Monster and facilitate a discussion with a group of my

classmates. Through this practice, I learned how to effectively facilitate class discussion.

Another aspect of our class readings, discussion, and activities that helped to shape my

unit was the vocabulary sections. We read two articles dealing with vocabulary instruction:

Padak’s Five Misconceptions About Vocabulary Instruction and Bromley’s 9 Things Every

Teacher Should Know about Words and Vocabulary Instruction. Once of the most common

misconceptions about vocabulary instructions, which I have seen countless times during my

observations, is that definitions do the trick. Padak explains how having students memorize

definitions is not nearly good enough to have them actually comprehend and understand the

meaning of the words. In order to teach students new vocabulary words, you have to help them

own the words. I molded my vocabulary instruction around this concept, ensuring that my

students will have enough practice with the words so that they can, not just learn them, but

master them.

My favorite part of my entire unit is my frontloading lesson plan. In Dr. Brown’s class,

we learned the importance of frontloading before diving into new material. One of the activities

we practiced to introduce frontloading is the gallery walk. The gallery walk is an anticipatory

activity that is to be completed before students start reading the new material. I used the gallery

walk technique in my frontloading lesson to introduce the main reading, The Great Gatsby.

During the gallery walk, students will be introduced to essential ideas from the novel in order to

get them thinking. In this activity, students are able to think critically about important ideas

without actually relating it to the novel they are preparing for.

One of the biggest strengths of this unit plan is the fact that all of the strategies that

students will be learning with over the course of the unit are introduced in the first week. This

allows for much more practice time for students. The frontloading lesson, reading

comprehension lesson, discussion lesson, and the literary lesson are all introduced prior to

students’ reading The Great Gatsby, so students are practicing all of the strategies during their

reading of the main novel. Although I believe this is a strength, there is also a downside to this.

During week two, the lessons become slightly redundant, as students are practicing the same

activities for each chapter, everyday, for an entire week. Many students who have problems

focusing may get bored with the redundancy; however, it is the practice that will help them learn

the material to their highest ability. Another strength of the unit plan is that each activity aligns

perfectly with the goals. Because of my use of backwards design while planning the unit, each

activity is aligned with the goals and the objectives I have set out to accomplish.

Some students become distracted when working with their peers. For this type of student,

this unit may be particularly challenging because for a large chunk of the unit students are

working in groups of their peers. While teaching the unit, the instructor will have to pay close

attention to be sure that distracted students stay on task. For struggling or reluctant readers, the

unit may be challenging because we are moving through our reading of The Great Gatsby rather

quickly. Though students, at times, will have the opportunity to have their reading finished in

class, there are many times over the course of the unit where students will be reading at home.

To avoid having reluctant readers not complete the assignment, for each chapter, there will be

questions they will complete and discussion that they will have to participate in. This will

motivate reluctant readers. The chapters in The Great Gatsby are short; therefore, struggling

readers should have minimal problems. For the times when we read The Tale of King Midas and

The Wasteland in class, for struggling readers, I have made it so that we have class discussion

and group work to help those students.

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