Kolbe Academy Home School€¦ · · 2017-06-23It should be undertaken after completing Classical Composition Fable Stage ... Classical Composition Chreia/Maxim Stage Discovering

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Kolbe Academy Home School

GRADE SIX

CLASSICAL COMPOSITION Classical Composition

Chreia/Maxim Stage Discovering the Skills of Writing

TABLE OF CONTENTS

I. Syllabus 2 II. Chreia/Maxim Teaching Primer 4 III. Daily Course Plan

A. Quarter 1 18 B. Quarter 2 43 C. Quarter 3 63 D. Quarter 4 81

IV. Quarterly Exams

A. Quarter 1 B. Quarter 2 C. Quarter 3 D. Quarter 4

V. Quarterly Exam Answer Keys

A. Quarter 1 Answer Key B. Quarter 2 Answer Key C. Quarter 3 Answer Key D. Quarter 4 Answer Key

VI. Appendices A. Appendix A: Figures of Description B. Appendix B: Figures of Speech C. Analogy Practice Sheet D. Advanced Sample Rubric for Grading the Final Draft

Resale & Copying Policy: This course plan and all accompanying materials are not intended for resale or copying. When you resell course plans it cuts into our financial stability because we rely on new sales to sustain us. Copying represents copyright infringement, which is illegal. As a Catholic Apostolate, we ask you to refrain from reselling or copying Kolbe's course plans. While we cannot stop you from reselling or copying this course plan, we do strongly implore you not to do so.

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SYLLABUS Classical Composition

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COURSE TITLE: English Composition III & IV: Chreia/Maxim Stage

Note: Classical Composition Chreia/Maxim Stage Discovering the Skills of Writing is the third course in the Classical Composition sequence. It should be undertaken after completing Classical Composition Fable Stage and Classical Composition Narrative Stage.

COURSE TEXTS: Classical Composition Chreia/Maxim Stage Discovering the Skills of Writing Teacher Guide, (CMTG) (T1553A) Classical Composition Chreia/Maxim Stage Discovering the Skills of Writing Student Book (CMSB) (T1553)

COURSE DESCRIPTION: The Chreia/Maxim Stage is the third of fourteen stages in the Progymnasmata (a set of preparatory exercises originated by the Greeks to ready the student for rhetoric). Students will learn to write by learning to think through the process of varying a truth under eight heads of development, each forming an exercise, each resembling a paragraph. The Eight Heads of Development are: Encomium (praise), Paraphrase (restatement), Cause (general story), Converse (opposite general story), Analogy (comparison), Example (specific case), Testimony (authority), and Epilogue (conclusion or summary). The first head of development defines a worthy subject for thought; the second through seventh describes an operation of the mind as it grapples with the truth of the saying; and the last calls the reader to an affirmation of the truth.

The purpose of the Encomium is to praise the author of the saying (Chreia) or the saying itself (Maxim); hence, the title of the course. The purpose of the Paraphrase is to make the meaning of the saying more clear through paraphrase or variation. The purpose of the Cause is to express the meaning of the saying in the form of a general story. The purpose of the Converse is to express the meaning of the saying in the form of a general story that applies to real life and illustrates its opposite. The purpose of the Analogy is to identify a similarity between the saying and something else. The purpose of the Example is to express the meaning of the saying in a specific way. The purpose of the Testimony is to provide a supporting quotation from a respected source (In a sense, it is another paraphrase). The purpose of the Epilogue is to call the audience to acknowledge the truth of the saying. In each lesson the parent/teacher will remind the student of the purpose of each head of development. The instructional method and exercises remain the same from one week to the next and are clearly outlined in the Teacher Guide. The step by step guidance and questions that the parent/teacher asks to help the student write the chreia/maxim are in the teacher’s manuals. A model of the 8 heads of development applied to the 1st lesson’s chreia appears below.

COURSE OBJECTIVES: Develop in the student an appreciation for sound writing Inculcate in the student the habits of good writers through imitation of their structure and style Equip the apprentice writer to become an analytical reader and writer Provide techniques the student writer can employ for any given writing task Prepare the student writer to generate ideas, organize those ideas, and express those ideas well by

providing him with structured practice in Invention (generating ideas), Arrangement (organizing ideas), and Decoration (stating the ideas in their most effective form) (Discovery, Organization, and Elocution)

Develop a shared vocabulary and practice between the teacher and student SCOPE AND SEQUENCE: The Progymnasmata exercises were a preliminary series of exercises for students who would later study rhetoric and deliver formal orations. The exercises were developed by the ancients, adopted by the Church, adapted

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SYLLABUS Classical Composition

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during the Renaissance, and practiced by the West until very recently. The sequence below is based on the exercises of Aphthonius. 1.Fable 5.Refutation 9.Vituperation 13.Thesis or Theme 2.Narrative 6.Confirmation 10.Comparison 14.Defend/Attack a Law 3.Chreia 7.Commonplace 11.Impersonation 4.Proverb 8.Encomium 12.Description

COURSE PLAN METHODOLOGY: Kolbe Academy has worked diligently to create the best possible course plans with the home schooling family in mind. Remember, however, that our program is intended to be flexible. Under the principle of subsidiarity, you should use these course plans as a suggested course of study. As the teacher, you should adapt and modify these course plans to meet the individual learning needs of your child. In the course plans that follow, the Classical Composition Book III: Chreia/Maxim Stage Discovering the Skills of Writing Teacher Manual is represented by the abbreviation CMTG, the Student Book by the abbreviation CMSB. A weekly grade book is included in the course plan at the end of each week as a convenience. Parents should use the grade book only as a help to their home schooling and not as a hindrance. Because the Classical Composition course is a self-contained program, we advise you to follow the grading guidelines outlined in the text. You may elect to grade drafts or not. Kolbe Academy does not require that you keep a record of all student work. If you intend to report your child’s work to Kolbe Academy for an official report card, only one sample of graded written work is required per quarter for each course, along with the submission of a report card. Point values and weighting are suggested for convenience and may be modified, dropped completely, or added to as the parent deems fit. Please consult the welcome packet for a full tutorial on grades. Finally, begin every class with a prayer. This is a good way to help the child memorize new prayers. Repeat the same ones every day until they are known. Be sure to explain the meanings of the prayers. Repetition in all areas of study is most beneficial.

TEACHER PREPARATION: 1. Reading the Classical Composition Discovering the Skills of Writing Chreia/Maxim Stage Teacher Guide may be enough to prepare you to teach this course. Read its opening pages and follow its step-by-step instructions with each lesson. 2. Kolbe Academy has written a Chreia/Maxim Teaching Primer as a tool to guide you in mastering the scope of what you will be teaching. It can be found on the following pages. It includes explanations of what Chreia/Maxim is, two sample lessons, two sample exercises fully developed, an outline of the 8 Heads of Development, and a list of Teaching Tips. 3. The first lesson includes a copy of a final draft of the opening essay (8 heads of development), based on the answers given on the student pages in the Teacher Guide. It is followed by a grade sheet. It is the only lesson with these additional features. PLEASE NOTE: THE FOLLOWING TEACHING PRIMER WAS DEVELOPED TO AUGMENT THE ORIGINAL SELBY EDITION. THOUGH YOUR MEMORIA TEACHER GUIDE IS ALL YOU NEED, WE HAVE RETAINED THE TEACHING PRIMER TO HELP YOU BUILD BACKGROUND IN CHREIA/MAXIM.

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C/M TEACHING PRIMER Classical Composition

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CHREIA/MAXIM TEACHING PRIMER

TABLE OF CONTENTS Overview of the Chreia Using Isocrates’ Model ………………………………………….…................6 The Eight Heads of Development Using “The Tortoise & The Hare (Chreia)……………..………….....9 The Eight Heads of Development Using the Life of Maximilian Kolbe (Maxim)……… …….………..13 Outline Chreia/Maxim Stage…………………………………………………………………………….17 Kolbe Teaching Tips………………………………………………………………………………………18

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OVERVIEW OF THE CHREIA

Teacher and student alike may feel as though they are making a quantum leap when they move from the familiar world of Fable and Narrative to the unfamiliar world of Chreia/Maxim. The language will sound more formal, the concepts more abstract, the structure more elaborate. However, if you trust to the process you will find that Chreia/Maxim truly reflects the pattern of reason that everyone, children included, employ when they want to reflect on something or explain something. The key will be adhering closely to the model to gain mastery of the Chreia. The Chreia (meaning useful) is a “brief reminiscence referring to some person in a pithy form for the purpose of edification.”1 By this definition, the student will reflect on that which is edifying by way of learning how to write. Chreia consists of eight Heads of Development (paragraphs) that are exercises in reasoning and writing. Each of the Heads of Development that makes up the Chreia has a name and purpose and follows a discernible and unvarying pattern. Relying on the pattern, the teacher can guide the student with confidence; internalizing the pattern through repeated practice, the student can build copia, a storehouse of verbal technique. The Heads of Development are Encomium, Paraphrase, Cause, Converse, Analogy, Example, Testimony of Ancients (authority), and Epilogue.

The Encomium or praise portion may be thought of as similar to the opening of a speech. It is designed to gain the listener’s attention, acquaint him with the subject of the chreia, and set the tone for what follows. Examining the model from the book, and labeling the function of each sentence in it, gives us an understanding of its structure so that we might imitate it with ease. (Note: Isocrates’ art was that of teaching rhetoric.The study of rhetoric prepared young men for public life.)

It is right to admire Isocrates for his art, for he gave it a most glorious name and proved its greatness by his practice of it; he made the art famous [ethopoeia], he did not owe his fame to it. (The opening statement praises and demonstrates the worthiness of Isocrates’ art and Isocrates’ practice. It moves from the general (the art) to the specific (Isocrates’ achievement.) To go through the benefits he conferred on human life by giving laws to kings and advice to individuals would be too long; I will speak only of his wise saying on education. (The second statement offers an overall estimate of Isocrates’ work in its first half and a specific focus on his words in its second. It too moves from the general to the specific.) (Encomium)

The Paraphrase, as its name suggests, retells the chreia in the student’s own words.

Paraphrasing is, of course, not new to students of Fable and Narrative. Isocrates’ model follows:

1 .”(from “Silva Rhetoricae” (http://humanities.byu./rhetoric/silva.htm quoted in Chreia/Maxim

Teacher Manual p. 14 ).

http://humanities.byu./rhetoric/silva.htm

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‘The lover of education,’ he says, ‘labors at first, but those labors end in profit.’ (The first sentence is the actual quotation referred to in the prior exercise. Though not strictly a paraphrase, it goes by that name, named that by better people than this course plan writer.) That was his wise saying; and we shall show our admiration in what follows. (The second statement is a statement of transition, readying us for what follows) (Paraphrase)

The Cause, is an explanatory portion that, in the words of Jim Selby, “gives rise to the truth expressed in the chreia through a general demonstration of the truth.” The emphasis is on the word “general” because the Cause is in fact a general narrative. The Cause also answers the reason why the chreia is important. The model from Isocrates follows.

The lovers of education are enrolled with the leaders of education, whom it is fearful to approach though to desert them is foolish; fear always waits on boys, both when they are present and in anticipation. (The narrative begins with a general description of the situation: The students (lovers of education) are enrolled with the teachers (leaders of education), those who represent authority and wisdom. These teachers elicit both fear and anticipation from their students.) From teachers the attendants take over, fearful to behold, more fearful when inflicting punishment. (Those who attend the boys and question them are next.) Fear precedes the experience and punishment follows on fear. What the boys do wrong they punish; what the boys do well they take as a matter of course. Fathers are harsher than attendants, examining their ways, telling them to make progress, viewing the market place with suspicion; and if punishment is needed they take no account of human nature. But by these experiences the boy, when he reaches adulthood, is crowned with virtue. (The movement of this general narrative is from one to another of all those who have anything to do with instructing the young.)(Cause) (Note: If you’ve noticed a more severe handling of the young than we subscribe to today, you’re right. You may want to use that as a point of discussion with your student.)

The Converse states the exact opposite of the object, idea, or action of the Chreia.

But if someone, because he fears these things, flees from his teachers, absconds from his parents, avoids his attendants, he is utterly deprived of eloquence; along with his fear he has set aside eloquence. (The converse gives the negative case and shows the consequences for those who ignore instruction in rhetoric.) All these things swayed Isocrates’ judgment when he called the root of education bitter. (restatement and transition) (Converse)

The Analogy uses a point of similarity between two dissimilar entities (the chreia itself

and another entity) and explains the relationship between them in order to expand the ground of reasoning and call forth a more exact image or definition in the reader’s mind.

For just as those who work the land laboriously sow the seed in the earth and gather the

crops with greater joy, in the same way those who strive for education by their toil acquire the

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subsequent renown. (Sowing results in reaping crops; sowing the hard work of learning results in reaping recognition or renown.) (Analogy)

The Example is a specific narrative that establishes the chreia firmly in the reader’s mind by offering an example that exemplifies or illustrates the underlying principle.

Consider Demosthenes’ career, [Recognition] which was more devoted to toil than that of any orator [Suffering] and more glorious than that of any [Reversal]. (A general statement about the specific example) So great was his commitment that he even deprived his head of its adornment, thinking the best adornment is that from virtue. And he devoted to toil what others devote to enjoyment. (Two statements giving further specific information on the subject.) (Example)

The Testimony is an attestation in support of the chreia; it is the evidence or proof of the chreia’s validity. The testimony is a restatement of the chreia by a known authority. However, the Testimony portion is meant to prepare the student for that future time when he will offer expert evidence in support of a thesis.

For this reason one must admire Hesiod, who said that the road to virtue is hard but the summit easy, expressing the same wise judgment as Isocrates. For what Hesiod represented as a road Isocrates called the root; both disclosed the same opinion, though in different words. (The first sentence reiterates Isocrates’ idea, the second explains how the two men expressed the same idea.) (Testimony)

The Epilogue concludes by calling the audience to acknowledge the truth of the anecdote.

Those who consider these points must admire Isocrates for his outstandingly wise saying

on education. (The final statement is a summary of the chreia.) (Epilogue) The teacher directing the student through the task of composing the eight Heads of Development will be given the chreia, the testimony, and the examples in the Chreia/Maxim Teacher Manual. The teacher will guide the student through the discovery (generation of ideas) process and the organization (composition) process. Asking discussion questions to generate ideas and pointing out the components of the model will be common practice. Moving from the familiar format of a fable, “The Tortoise & the Hare” (chreia) to a saying from Fr. Maximilian Kolbe (maxim), we have outlined how instruction using the Heads of Development might take place. Keep in mind that the instruction for Maxim is virtually the same as for Chreia. In Chreia the Heads of Development praise a worthy person, in Maxim they praise worthy words.

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THE EIGHT HEADS OF DEVELOPMENT THE TORTOISE & THE HARE

MODEL QUESTIONS FOR THE DISCOVERY PHASE (GENERATING IDEAS IN AN ORGANIZED WAY)

CHREIA: SLOW AND STEADY WINS THE RACE Once upon a time there was a hare (RC) who could outrun every animal in the forest. “I’m the fastest creature ever,” the hare boasted. “Oh, I could outrun you,” said the tortoise. The hare laughed. “You won’t be laughing long,” said the tortoise. At that the indignant hare challenged the tortoise to a race. The next day the hare insisted that they run the length of an enormous meadow (topothesia)(RC). The tortoise agreed. All the forest animals lined up along the path to watch. As expected, the hare soon left the tortoise behind, but the tortoise labored on(S). Some yards before the finish line, the hare said, “I think I’ll stop and enjoy the scenery. That old tortoise won’t be here for hours.” He stretched out among the bright flowers and soon fell asleep. The bystanders were amused. However, when the sun was high in the sky (chronographia), the tortoise passed the snoring hare. As the tortoise neared the finish line, such a shout went up from the crowd that the hare was startled from his slumber. When he saw that the tortoise was close to victory, he set off at lightning speed. But it was too late (RV). The tortoise crossed the finish line and won the race. Moral: Slow and steady win the race. __________ RC: recognition; RV: reversal; S: suffering Discovery I. Discuss the fable and moral. Define any words that you don’t know. II. Identify agent(s), action, time, place, manner, cause, recognition, reversal and suffering.

Agent(s): Tortoise, Hare; Action: a tortoise wins a race against a hare; Time: once upon a time; Place: an imaginary realm; Manner: through patience and dedication a tortoise wins against a fast hare; Cause: to show the virtue of patience and dedication.

III. Read the examples and discuss what they have in common with the characters and moral.

The Sager Children (1844) – crossed the country by themselves

after losing their parents and reached Oregon.

The Apostle Paul (1st

Century) – endured rejection,

imprisonment, shipwreck, and pain to spread the gospel.

Shackleton (1914-17) – led a party to the Antarctic and, when

stranded, led every one of his men back to safety.

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IV. Read the testimonies and discuss what they have in common with the characters and moral.

“I have fought the good fight, I have finished the race, I have

kept the faith.” St. Paul

“The Lord is my strength; he makes my feet like hinds’ feet, he

makes me tread upon high places.” The Prophet Zephaniah

“Never, never, never give up.” Winston Churchill

"Our greatest glory is not in never failing, but in rising up

every time we fail.” Ralph Waldo Emerson

V. Ask the student to list with you all the things that he or she finds praiseworthy about the tortoise.

What do we find praiseworthy about Aesop in giving us the tortoise?

1. The tortoise is unafraid of a challenge.

2. The tortoise is patient.

3. The tortoise never quits.

4. The tortoise keeps going in the face of difficulty.

5. The tortoise never complains.

6. The tortoise wins against great odds.

VI. Have the students mark those things that they think they might want to include under one or more of the eight heads. VII. Write out the eight heads following the Teacher Guide.

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ARRANGEMENT/ORGANIZATION THE TORTOISE & THE HARE (continued) Questions to generate the Eight Heads of Development for Chreia

The Eight Heads of Chreia (paragraphs/exercises)

1. Why should we praise the Tortoise? 2. What actions or qualities can we praise him for directly? (List 3) 3. What can we learn from his actions? a. Ethopoeia or chorographia might be used, as well as other figures of description. b. Contains thesis statement.

ENCOMIUM “Slow and steady win the race.” We should praise Aesop for giving us the brave tortoise (ethopoeia) in the fable, The Tortoise and the Hare. The tortoise was unafraid, determined, and faithful (3 praises). In creating him Aesop taught us many things, and we will honor him for giving us the lesson on staying the course to win the race. (Thesis)

1. How can we put the lesson of the fable into other words? Restate the same idea in different words.

PARAPHRASE Determination and faithfulness win the race.

1. What general story illustrates what would

happen if someone behaved according to the

principle given in the fable?

2. What real life experiences remind us of the

Tortoise (truth of the saying)?

3. Are there events in the past or in our lives

today that require patience and steadfastness?

I. Uses General Narrative Elements: i. Three Components of Plot:

Recognition, Reversal, & Suffering; ii. ii. Six Narrative Questions: Agent

(Who); Action (What); Time (When); Place (Where); Cause (Why); Manner (How);

II. Uses figures of description.

CAUSE We all know that doing our work well and finishing what we start makes us succeed (R). Some people might think that a fast or flashy start is the best sign of success to come, but if it isn’t followed by discipline it will do no good(RV). In the end the flashy starter will fail. (S) Whether one is learning to play piano, to speak a new language, or to perfect his chess game, we know we have to work hard to reach the goal. We should behave like the admirable tortoise in the fable and remember that “slow and steady win the race”.

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1. What would happen if someone behaved contrary to the principle illustrated in the fable?

a. Retains General Narrative Elements. b. States the converse or opposite.

CONVERSE (grows out of the Cause) If some think they can ignore the need to work hard and finish what they start, they shouldn’t be surprised if they fail. Even if they win everyone’s admiration at first, unless they finish, they will go nowhere.

1. To what can we compare the patience and steadfastness of the Tortoise? a. Retains General Narrative Elements. b. Discovers similarities in dissimilar objects or events.

ANALOGY For just as those who throw and shape and fire a bit of clay hope for a fine bowl; those who run and overcome and stay the course hope for a victory.

1. Who would serve as a good example of patience or steadfastness? How did he/she show these qualities? What specific things did he/she do? Where did he/ she wage the battle? When did he/she wage the battle? Why did he/she wage the battle? a. Retains General Narrative Elements. b. Presents a sterling example of the qualities praised.

EXAMPLE Consider St. Paul (who). He was beaten and shipwrecked and held prisoner (S). Yet, he spread the Gospel of Christ (what) in the first century (when). He worked as a missionary, encouraged bishops and deacons, and wrote letters to the Churches throughout the Ancient World (where). (R). He fought the good fight, finished the race (RV), and kept the faith (why).

1. Who stands as a testimony to the truth of the fable? Affirms the case made by the author by citing credible authorities.

TESTIMONY OF THE ANCIENTS (authority) Ralph Waldo Emerson said, "Our greatest glory is not in never failing, but in rising up every time we fail.” That is what people do when they work toward the goal no matter what their limitations, no matter what the difficulties.

1. What words would you use to call others to assent to the truth illustrated in the fable?

Call the audience to acknowledge the truth of the anecdote.

EPILOGUE We can all learn a lesson from this fabled tortoise that proved that “slow and steady win the race,” not only in a physical sense, but in a moral sense. Aesop has performed a great service by reminding us of this vital truth.

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THE EIGHT HEADS OF DEVELOPMENT THE LIFE OF MAXIMILIAN KOLBE

MODEL QUESTIONS FOR THE DISCOVERY PHASE (GENERATING IDEAS IN AN ORGANIZED WAY)

The real conflict is the inner conflict. Beyond armies of occupation and the hecatombs of extermination camps, there are two irreconcilable enemies in the depth of every soul: good and evil, sin and love. St. Maximilian Kolbe (Maxim)

I. Discuss Fr. Kolbe’s maxim. Define any words that you don’t know. (a. armies of occupation: armies that invade and take over a country; b. hecatombs: a large scale slaughter; c. irreconcilable: beliefs or practices that can’t be brought into harmony) II. Read the examples and discuss what they have in common with the maxim.

Adam and Eve

Edmund from The Lion, the Witch, and the Wardrobe

Boromir from The Fellowship of the Ring

III. Read the testimonies and discuss what they have in common with the maxim.

“The line separating good and evil passes not through states, nor

between classes, nor between political parties either, but right through

every human heart.” Alexander Solzhenitsyn, The Gulag Archipelago

“For I do not do the good I want, but the evil I do not want is what I do.”

St. Paul, Romans 7: 19

“Let God reign in your heart…This is when you are ready to obey God

and keep all His commandments. Thus, when we ask that His kingdom

may come, we pray that God (and not sin) may reign in us.” St.

Thomas Aquinas

http://cantuar.blogspot.com/2009/01/what-is-hecatomb.html

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IV. Ask the student to list with you all the things that you collectively know about Maximilian Kolbe.

What do we know about Fr. Kolbe?

1. Fr. Kolbe was from Poland

2. Fr. Kolbe was consecrated to the Virgin Mary

3. Fr. Kolbe was a priest in Japan

4. Fr. Kolbe was visited by our Blessed Mother and given

the choice between the crown of martyrdom or of purity,

and chose both.

5. Fr. Kolbe defied the Nazis

6. Fr. Kolbe, while imprisoned in a concentration camp,

gave his life in exchange for another prisoner’s because

the other prisoner had a wife and children.

7. Fr. Kolbe was declared a saint in 1982.

V. Ask the student to list the things he admires or the truths he can learn from Fr. Kolbe’s words.

1. All of us must struggle against evil to do good.

2. All of us must face temptation.

3. We cannot blame outside forces and influences for the

wrong we do.

4. We can learn to act from motives of love and avoid motives

that lead to sin.

VI. Have the students mark those things that they think they might want to include under one or more of the eight heads. VII. Write out the eight heads using the Teacher Guide.

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ARRANGEMENT/ORGANIZATION Questions to generate the Eight Heads of Maxim

The Eight Heads of Maxim as applied to the words of Maximilian Kolbe (paragraphs/exercises)

1. Why should we praise Maximilian Kolbe’s words? 2. What actions or qualities can we praise him for directly? 3. Why must we listen to his words? a. Ethopoeia or chorographia might be used, as well as other figures of description. b. Contains thesis statement.

ENCOMIUM We should praise St. Maximilian Kolbe for these words that remind us that the battle between good and evil is waged in our souls. St. Maximilian Kolbe demonstrated that he was the champion of good and the enemy of evil through his efforts to spread the faith, faithfully serve the Church as a priest, and selfless martyrdom. (ethopoeia)(3 praises). For these reasons we must listen to his wise words about where the battle between good and evil is really fought. (Thesis)

1. How can we put Maximilian Kolbe’s words another way? Restate the same idea in different words.

PARAPHRASE According to Maximillian Kolbe there is a battle within that requires us to choose good rather than evil, love rather than sin.

1. What general story can we tell that illustrates

Fr. Kolbe’s words?

2. Who faces the interior battle between good

and evil?

3. What kinds of things are part of this battle?

4. Where is this battle waged?

5. When is this battle waged?

6. Why do we wage this battle?

7. How do we wage this battle?

8. What figure of description would you use to

illustrate this battle?

I. Uses General Narrative Elements: iii. Three Components of Plot:

Recognition, Reversal, & Suffering; iv. ii. Six Narrative Questions: Agent

(Who); Action (What); Time (When); Place (Where); Cause (Why); Manner (How);

II. Uses figures of description.

CAUSE, GENERAL Catholics have always known that the battle for good and evil is waged within us every day (Who/When). Every day (When) we are faced with choices to speak the truth, to offer obedience, or to show love to others(What)(Rc). As we face trials and temptations(S), awareness of the true battle reminds us to fashion souls worthy of heaven(Rv). Through the Sacraments and teachings of the Church we have help to wage the battle successfully (How). We can look to God, the Holy Trinity, and the Immaculata for help, as Fr. Kolbe did himself. We can also look to the saints for examples of virtuous living (Where)(Pragmatographia). In striving to choose the good, we set our path toward heaven (Why).

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1. What would happen if someone behaved contrary to the awareness that Fr. Kolbe communicates? a. Retains General Narrative Elements. b. States the converse or opposite.

CONVERSE Those that ignore the example of St. Maximillian Kolbe may fail to fight against the evil in their souls, and fail to cooperate with the good. This tragedy can be avoided if we listen to Fr. Kolbe’s words.

1. To what can we compare the inner battle between good and evil? To what can we compare striving to choose the good? a. Retains General Narrative Element. b. Discovers similarities in dissimilar objects or events.

ANALOGY For just as those who struggle to paint a beautiful portrait, produce a work that lasts; those who strive for holiness, produce a life worthy of heaven.

1. Who would serve as a good example of waging the interior battle for the good? How did he/she wage the battle? What specific things did she do? Where did she wage the battle? When did she wage the battle? Why did she wage the battle? a. Retains General Narrative Elements. b. Presents a sterling example of the qualities praised.

EXAMPLE Consider St. Therese of Lisieux who tried to honor God in every daily action, and who allowed God to multiply her efforts to the benefit of others. She made an offering of her life that serves as a model and a blessing for us. In fact, she inspired Fr. Kolbe.

1. Who stands as a testimony to the truth of Fr. Kolbe’s words? Affirms the case made by the author by citing credible authorities.

TESTIMONY OF THE ANCIENTS Alexander Solzhenitsyn confirms the wisdom of St. Maximilian Kolbe when he writes in The Gulag Archipelago, “The line separating good and evil passes not through states, nor between classes, nor between political parties either, but right through every human heart.” When we read this, we are reminded of Fr. Kolbe. He died in another’s place, serving as a witness to the ultimate triumph of good in his heart.

1. What words would you use to call others to the truth of Fr. Kolbe’s words? Call the audience to acknowledge the truth of the anecdote.

EPILOGUE The wisdom of St. Maximilian Kolbe must be acknowledged by all who want to understand the true battle lines in life, and who want to win the battle for the ultimate good of Heaven.

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OUTLINE: CHREIA/MAXIM STAGE I. ENCOMIUM OR PRAISE a. Ethopoeia or chorographia might be used, as well as other figures of description; b. Contains thesis statement; II. PARAPHRASE a. Restates the same idea in different words; III. CAUSE a. Uses General Narrative Elements: i. Three Components of Plot: Recognition, Reversal, & Suffering; ii. Six Narrative Questions: Agent (Who?); Action (What?); Time (When?); Place (Where?); Cause (Why?); Manner (How?); b. Uses figures of description (ethopoeia, chorographia, chronographia, ecphrasis common); IV. CONVERSE (CONTRAST) a. Uses General Narrative Elements; b. States the converse or opposite; c. Uses figures of description (i.e. ethopoeia, chorographia, chronographia, ecphrasis); V. ANALOGY a. Retains General Narrative Elements; b. Discovers similarities in dissimilar objects or events; VI. EXAMPLE a. Uses General Narrative Elements; b. Presents a sterling example of the qualities praised; VII. TESTIMONY OF ANCIENTS a. Affirms the case made by the author by citing credible authorities; VIII. EPILOGUE a. Calls the audience to acknowledge the truth of the anecdote.

AMDG



Grade 6


CMSB 6 17

KOLBE TEACHING TIPS Classical Composition III & IV: Chreia/Maxim Stage

1. Discussion of the Chreia or Maxim at the outset is the key to success for the student. If the individual quotation seems challenging or outside the student’s experience, remember that children like the opportunity to think and talk like grown-ups. The great thing about classical composition is that it forms the mind along the true lines of reason, and forms the heart along the true lines of a good character – by causing the child to reflect on the good, the true, and the beautiful – winning his assent and his loyalty. 2. The parent/teacher may want to write his own chreia of a famous person to understand the process his child will go through to write one. 3. Pre-teach note taking. Choose a passage from a book, novel, or biography to read, sentence by sentence if necessary, and have the student paraphrase what you’ve read and write down the key points. This skill will come in handy as they take notes in their workbooks when they begin the course. 4. Familiarize yourself with the student book. 5. Identify the key concept or kernel in a paragraph and explain it in simple terms to the student, using examples, and asking him or her to paraphrase what has been read. Be sure to spend as much time as necessary discussing and/or defining to make sure the student understands the materials. 6. Take as much time as necessary to establish understanding, especially since the course is laid out to take less than an academic year. There is no need to hurry the process along. 7. Discovery involves writing down what the student already knows or discovers through discussion about the subject of the chreia. The teacher may feel free to add whatever he or she thinks necessary to aid the student. Be sure to use the information in the Teacher Guide. 8. Incorporate an awareness of figures of description and of speech into your daily reading and conversation. Make a point of sharply observing something in creation and deliberating about how you (or your child) can best describe it. Make a point of thinking about how you (or your child) might best say something that you really want to say. Making these questions a part of everyday living will help train the mind of the writer. If you have not already put the figures of speech and examples on flashcards, you may want to do so. Have fun with them, pointing out figures of speech when you run across them in regular reading or family conversation. It is not always required that you or your children write them down in order to practice using them.

AMDG


COURSE PLAN Classical Composition

Grade 6


CMSB 6 18

FIRST QUARTER

NOTE: THESE OPTIONAL NARRATIVE REVIEW LESSONS DO NOT APPEAR IN THE TEACHER GUIDE. WEEK 1

Book Weekly Breakdown Goals and Notes for the Week and Year

No Book REVIEW

LESSON ONE “The Two Crabs”

Purpose: To review the skills learned in Narrative. Figures of description: Students will rewrite a story using anemographia (description of wind), astrothesia (description of stars), chorographia (description of a nation), chronographia (representation of time), dendographia (description of a tree), dialogismus (speaking as someone else).

One fine day two Crabs came out from their home to take a stroll on the sand. “Child,” said the mother, “You are walking very ungracefully. You should accustom yourself, to walking straight forward without twisting from side to side.” “Pray, mother,” said the young one, “Do but set the example yourself, and I will follow you.”

Student Daily Assignments Parent Daily Guidelines

DAY 1

3 Tasks

Read and Narrate the Narrative.

I. Narration 1 1. Read the Narrative aloud several times. 2. Review the vocabulary, define words. 3. Narrate the Narrative: Students will narrate the Narrative in their own words from memory. II. Find the Nine Components of Narrative 1. Note instances of Recognition, Reversal, and Suffering; 2. Tell the Who, What, When, Where, How, and Why of the Narrative (agents, action, time, place, manner, cause); 3. Vary the words (synonyms) and vary the sentences (order, forms of words, adverbs/adjectives). III. Variations I: Vary in word and idea. 1. The crabs were mottled, red and blue. 2. The individual grains of sand sparkled so much that morning that it was almost painful to look at them. 3. Now crabs have a high standard of personal locomotion to maintain. 4. “Lift right leg, move forward. Then left leg, move forward. Timing is everything,” said the Mother Crab.

Fill out Nine Components of Narrative Invention

Do Variations I

Notes

AMDG



Grade 6


CMSB 6 19

DAY 2

3 tasks

Outline the story. (Use separate paper)

I. Outline Outline the Narrative, noting first the major plot developments signifying an Act within the story (Scene changes or major actions. Indicate each with a Roman numeral.); then note the sub-points, the incidents and events that make up each Act. Note which of these events are instances of Recognition, Reversal, and Suffering. II. Narration 2 Have the students narrate the narration with the aid of their outlines, giving the proper citation (Title) by (author), as retold by (student name). If necessary to make the whole narration complete have students write the Narrative. III. Variations 2: Vary in word and idea by changing the underlined portions. 1. One fine day two Crabs came out from their home. 2. Child you are walking very ungracefully. 3. You should accustom yourself to walking straightforward without twisting from side to side. 4.”Pray, mother,” said the young one, Do but set the example yourself, and I will follow you.

Use your outline to narrate the tale.

Vary the sentences to develop the ideas that you may use for Paraphrase 1 or 2.

DAY 3

2 Tasks

Paraphrase the narrative adding the Figures of Description you’ve worked out.

I. Paraphrase 1: (Written) 1. Have the students write out the Figures of Description for their paraphrase. Write examples on the board. Have him/her choose 2-6 to incorporate into his/her work. 2a. Have the students paraphrase the Narrative from the perspective of one of its characters. A third person narration will change to first person narration. 2b. Have the students compose their paraphrase by incorporating figures of description and the new viewpoint. Examples: Anemographia: The wind kicked up little spirals of swirling sand clouds. Astrothesia: The shadow of the moon was still visible in the morning sky when the two crawled out of the sand. Chorographia: As a whole, crabs are so oddly made, and move in such an awkward way that other creatures don’t know whether to regard them with fear or laughter. Chronographia: At early morning a fresh salt spray floated over the beach. Dendographia: The palm leaves blew lazily in the air. Dialogismus: “How far will we travel today?” asked the baby crab. “As far as the most comfortable and cool pool of salt water,” answered the mother crab.

Paraphrase the tale by telling it from the point of view of another character.

AMDG



Grade 6


CMSB 6 20

DAY 4

1 task

Paraphrase by condensing the narrative.

I. Paraphrase 2: Have the student paraphrase the narrative by condensing it. When teaching the student to condense (reduce), help the student pare away extraneous details while retaining essential plot elements. Adverbs, adjectives, prepositional phrases and descriptions may usually be cut. Reading the narrative out loud to search for necessary details may help.

DAY 5

1 task

Redraft P1 or P2.

I. Final draft (Written): Have the student redraft either Paraphrase 1 or 2. The student will further amplify the paraphrase by adding new variations. Students should be encouraged to edit, proofread, and correct their papers carefully.

Week 1 Grade Book

Student Workbook scale based on 5 pts. For Nine Components of Narrative Invention, 10 pts. For Variations, 15 pts. For the Outline. A rough draft of Narration 2 is optional, 15 pts. The rubrics for the drafts (Paraphrase 1 & 2 and Final) are at the back of the course plan. Variation exercises are found in the Teacher and Student Guides. Feel free to change point values and rubrics.

Assignments (A) Points Earned (B) Possible Points A/B x100 =% (C) Nine Parts of Narrative Invention 5 Variations 10

Outline 15

Rough Draft Narrative 2 (opt) 15

Paraphrase 1 25

Paraphrase 2 25

Variations 10

Final Draft 100

Week 1 Average Add up column C & divide by number of included assignments = %

AMDG



Grade 6


CMSB 6 21

WEEK 2 Book Weekly Breakdown Goals and Notes for the Week

No Book

REVIEW LESSON TWO

“The Silkworm and Spider”

Purpose: To review the skills learned in Narrative. Figures of description: Students will rewrite a story using anemographia (description of the wind), astrothesia (description of the stars of heavenly bodies), chorographia (description of a group), chronographia (representation of time), dendographia (description of a tree), and dialogismus (dialogue).

Having received an order for twenty yards of silk from Princess Lioness, the Silkworm sat down at her loom and worked away with zeal. A Spider soon came around and asked to hire a web-room nearby. The Silkworm acceded, and the Spider commenced her task and worked so rapidly that in a short time the web was finished. “Just look at it,” she said, “and see how grand and delicate it is. You cannot but acknowledge that I’m a much better worker than you. See how quickly I perform my labors.” “Yes,” answered the Silkworm, “but hush up, for you bother me. Your labors are designed only as base traps, and are destroyed whenever they are seen, and brushed away as useless dirt; while mine are stored away, as ornaments of Royalty.”

Student Daily Assignments Parent Daily Guidelines

DAY 1

3 Tasks

Read and Narrate the Narrative.

I. Narration 1 1. Read the Narrative aloud several times. 2. Review the vocabulary, define words. 3. Narrate the Narrative: Students will narrate the Narrative in their own words from memory. II. Find the Nine Components of Narrative 1. Note instances of Recognition, Reversal, and Suffering; 2. Tell the Who, What, When, Where, How, and Why of the Narrative (agents, action, time, place, manner, cause); 3. Vary the words (synonyms) and vary the sentences (order, forms of

Fill out Nine Components of Narrative Invention

Notes

AMDG



Grade 6


CMSB 6 22

Do Variations I

words, adverbs/adjectives). III. Variations I: Vary in word and idea. 1. The silkworm labored, hoping in her heart that her work would match the vision in her imagination. 2. The silk was fine enough for tapestries, brocades, and draperies in king’s palaces. 3. The spider was a swift and dexterous worker. 4. When a spider is busy spinning a web he is a weaver, a tightrope walker, and an engineer. 5. Spiders love to brag about their accomplishments, but are often blind to excellence in others.

DAY 2

3 tasks

Outline the story. (Use separate paper)

I. Outline Outline the Narrative, noting first the major plot developments signifying an Act within the story (Scene changes or major actions. Indicate each with a Roman numeral.); then note the sub-points, the incidents and events that make up each Act. Note which of these events are instances of Recognition, Reversal, and Suffering. II. Narration 2 Have the students narrate the narration with the aid of their outlines, giving the proper citation (Title) by (author), as retold by (student name). If necessary to make the whole narration complete have students write the Narrative. III. Variations 2: Vary in word and idea by changing the underlined portions. 1. The Silkworm received an order for twenty yards of silk from Princess Lioness. 2. She sat down at her loom and worked away with zeal. 3. A Spider soon came around and asked to hire a web-room nearby. 4. True art is thoughtful, delights and endures.

Use your outline to narrate the tale.

Vary the sentences to develop the ideas that you may use for Paraphrase 1 or 2.

DAY 3

2 tasks

Paraphrase the narrative adding the Figures of Description you’ve worked out.

Paraphrase 1: (Written) 1. Have the students write out the Figures of Description that they’ll use in their paraphrase. Write examples on the board. 2. Have the students paraphrase the Narrative from the perspective of one of its characters. A third person narration will change to first person narration. 3. Have the students compose their paraphrase by incorporating figures of description and the new viewpoint. Examples: 1. Anemographia: A cool, soothing breeze brought relief to the industrious spider. 2. Astrothesia: When the last glimpse of moon was visible in the sky, the silkworm was settling down for her well-deserved rest. 3. Chorographia: As a whole silkworms go unadorned through the world, yet adorn the rest of us with their workmanship.

Paraphrase the tale by telling it from the point of view of another character.

AMDG



Grade 6


CMSB 6 23

4. Chronographia: Silk has been valued from ancient times to our own. 5. Dendographia: Nothing is more welcomed to a hard working spider than to rest in the shade of a mimosa tree. 6. Dialogismus: “The silkworm labors for others,” said the dignified worm. “So what. The spiders labor for themselves because we expect no special help from anyone.”

DAY 4

1 Task

Paraphrase by condensing the narrative.

Paraphrase 2: Have the student paraphrase the narrative by condensing it. When teaching the student to condense (reduce), help the student pare away extraneous details while retaining essential plot elements. Adverbs, adjectives, prepositional phrases and descriptions may usually be cut. Reading the narrative out loud to search for necessary details may help.

DAY 5

1 Task

Redraft P1 or P2.

Final draft (Written): Have the student redraft either Paraphrase 1 or 2. The student will further amplify the paraphrase by adding new variations. Students should be encouraged to edit, proofread, and correct their papers carefully.

Week 2 Grade Book

Assignments (A) Points Earned (B) Possible Points A/B x100 =% (C) Nine Parts of Narrative Invention 5 Variations 10

Outline 15

Rough Draft Narrative 2 (opt) 15

Paraphrase 1 25

Paraphrase 2 25

Variations 10

Final Draft 100

Week 2 Average Add up column C & divide by number of included assignments = %

Documents

Kolbe Academy Home School€¦ · · 2017-06-23It should be undertaken after completing Classical Composition Fable Stage ... Classical Composition Chreia/Maxim Stage Discovering