Understanding Complex Text

FUNDERSTANDINGCOMPLEXCOMPLEXREADINGREADING

Literature & Informational Textby Theme

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Specific Focus on Reading & Writing

UnderstandingComplex ReadingLiterature & InformationalText by Theme

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READINESS & SUPPORTING TEKSGRADES 3-8

Five Parts for FocusedInstructionPart A: Understanding How toRead Complex Passages withrigorous passages and questions

Part B: How to identify a theme

Part C: Glossary of ComplexReading Terms

Part D: Instruction with complextexts

Part E: Independent Practice:Complex Reading Passages ofmultiple themes with multiple-choice and open-ended questions

UnderstandingPersuasive TextReading & ArgumentativeWriting

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Teaches students how to understandand analyze persuasive texts andhow to write persuasive essays.Students will analyze a range ofpersuasive texts including editorials,letters, speeches, historical texts, andresponses to literature. Studentslearn about the purpose andstructure of persuasive texts, andthen practice the techniques used topersuade readers.

Special Features:• Glossary of important terms

• Independent practice with fivepersuasive texts followed byquestions

• Independent practice with fourwriting prompts

.

UnderstandingPoetryReading to Analyze andInterpret

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Teaches students how to understandand analyze different types of poetry,such as lyrical, free verse, limerick, andmore. Students will learn thestructural elements of poetry such asrhyme,meter, and stanzas.

Special Features:• Glossary of poetic terms• Instruction with individual as well aspaired poems, followed byquestions

• Each poem includes key backgroundinformation to help studentsunderstand the text

• Independent practice with multiple-choice and open-ended questions

UnderstandingDramaReading to Analyze andInterpret

ALIGNED TO THE


Teaches students how tounderstanding and analyze dramaticliterature. Students will learn todraw conclusions and makeinferences about the structure andelements of drama. The book alsoteaches how to interpret interactionsbetween characters, dialogue, andstage directions.

Special Features:• Glossary of terms needed tounderstand dramatic literature

• Each dramatic piece is introducedwith background information tohelp students understand thework.

• Independent practice withmultiple-choice and open-endedquestions

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UnderstandingComplex Reading

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UnderstandingPersuasive Text

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UnderstandingDrama

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Understanding the Common Core StandardsClass SetClass Set includes 15 of each title (total 60 books)

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Literature & Informational Textby Theme

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Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Understanding How to Read Complex Passages . . . . . . . . . . . . . . . .6

Information and Guidance on Understanding, Analyzing, and Comparing Complex Passages

How to Identify a Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Information and Guidance on Understanding and Identifying Themesin Complex Passages

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Definitions of the Key Terms Needed to Analyze Complex Passages by Theme

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

One Single Passage and Two Sets of Passages Connected by a Theme with Background Information and Instruction

Passage 1: The Coyote and the Snake . . . . . . . . . . . . . . . . . . . . . . .18Passage Set 1: To the River Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Life on the River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27Passage Set 2: Candles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Our Place in Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Independent Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Two Single Passages and Three Sets of Passages Connected by a Themefor Students to Complete on Their Own

Passage 1: Making Fossils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Passage 2: Robin Hood and the Sad Knight . . . . . . . . . . . . . . . . . . .54Passage Set 1: Taking a Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

The Perfect Picnic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68Passage Set 2: James Michener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Reproducing the Past . . . . . . . . . . . . . . . . . . . . . . . . . . .79Passage Set 3: Daydream Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Morals and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

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IntroductionUnderstanding Complex Reading: Literature & Informational Text by Theme teachesstudents how to understand, analyze, and evaluate complex passages whilefocusing on theme. Students will read a range of passages with complex andsophisticated themes, including sets of passages connected by a theme. Studentswill learn how to use close reading to interpret passages and will develop thecritical thinking skills necessary to answer rigorous questions about the passages.

Understanding How to Read Complex PassagesThis section of the book describes the main features of complex passages and givesguidance on how to understand, analyze, and compare complex passages.

How to Identify a ThemeThis section of the book explains what a theme is and teaches students how toidentify themes. It describes a process to use for identifying and analyzing themesin passages, and it shows how close reading based on a passage’s themes can beused to understand and analyze complex passages.

GlossaryThe glossary gives definitions of the terms that students will need to understand toanalyze complex passages by theme. Students can refer to the glossary as theylearn to analyze complex passages.

InstructionThis section contains one single passage and two sets of passages connected by atheme. Each passage or set of passages is introduced with key backgroundinformation that will help students analyze and evaluate the passage, understandthe theme, and make connections between passages. This section of the bookcontains both literature and informational passages, and the passages and questionsets increase in complexity and rigor. Each question set includes multiple-choice,short-response, and extended-response questions.

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Independent PracticeThis section contains two single passages and three sets of passages connected by atheme for students to complete on their own. This section of the book containsboth literature and informational passages, and the passages and question setsincrease in complexity and rigor. Each question set includes multiple-choice, short-response, and extended-response questions.

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Understanding How to Read Complex Passages

Understanding Complex PassagesComplex passages often have longer sentences and challenging vocabulary. The firstkey to understanding complex passages is to understand the language. If a sentencehas difficult words, reread the sentence. The meaning of words can often be workedout just by reading the sentence again and thinking about what meaning of theword makes sense. In other cases, the meanings of difficult words may need to belooked up. If the meaning of a sentence or paragraph is unclear, read it again morecarefully. Difficult sentences can be broken down into their different ideas.Paragraphs can also be read sentence by sentence. This means making sure that eachsentence is fully understood before moving on to the next one. You could also breaka paragraph down by taking notes and listing its main ideas.

Complex passages are usually longer passages. There can be a lot of information,but it is all linked together by a central idea. The central idea that holds a passagetogether is the theme. One way to understand complex passages is to focus onunderstanding the theme. The next section of this book explains how to identifythemes and how to analyze a passage based on its themes.

Analyzing Complex PassagesComplex passages usually require readers to find meaning. Ideas are often notstated directly. Instead, readers draw conclusions and make inferences based ondetails from the passage. This requires reading the passage closely and makingdecisions based on what is read. Details from the passage are used to drawconclusions and to make inferences. The key to analyzing complex passages is tolook closely at the passage and to always base understanding on information anddetails from the passage.

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Comparing Complex PassagesComplex passages can be connected by a common theme. Questions aboutpassages connected by a theme require using information from both passages. To answer these questions, each passage should first be understood on its own.With a good understanding of each passage, connections can then be madebetween them. While connected passages are similar in some ways, they aredifferent in other ways. Answering questions about connected passages involvesthinking about how they are the same and how they are different.

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How to Identify a Theme

Understanding ThemesA theme is the central idea of a passage or the lesson or message that the authorwants to convey. A theme is different from the subject or the topic of a passage. Forexample, a story might describe how a player acts badly after losing a tennis match.The subject of the story is the tennis match, but the theme is about being a goodsport. An article might describe how Thomas Edison invented the light bulb aftertrying many times. The topic of the article is Thomas Edison, but the theme isabout never giving up. When identifying themes, be exact rather than vague. Forexample, it is better to identify that the theme of a poem is how friendships requiretrust than simply identifying that the theme is friendship.

Most passages do not state the theme directly. Instead, passages need to be analyzedto work out what the themes are. Many passages also have more than one theme.When analyzing a passage, there may be two or more central ideas or messages. Insome cases, the themes may be equally important. In other cases, there may be onemajor theme and one or more minor themes.

Identifying and Analyzing ThemesIn literature, themes hold the story, poem, or play together. As you read a passage,think about what the central ideas are. Themes can be communicated in differentways. In some passages, the theme will be a lesson a character learns or a lesson thereader learns from the events. In some passages, a character’s main problem couldreveal the theme. In other passages, the events that take place could reveal the theme.

In informational texts, the theme can be the central topic of the text. For example,an article about how to recycle paper could have the main theme of recycling. Itcould also have themes based on opinions given in the text or messages suggestedby the text. For example, it could have themes about creating too much waste orabout taking care of the environment.

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To identify and analyze themes, follow the three steps below.

Part 1: OverviewBefore looking at a passage closely, look at the passage overall. Here are somequestions that can help guide you.

• What is the title? Does the title suggest a main idea or theme?

• Is there a subtitle? If so, what does the subtitle suggest?

• What genre is the passage? Does this give any clues about what the theme might be or how to identify the theme?

• Is there any art? Does the art give any clues about the theme?

Once you have looked at the passage overall, you will probably have some cluesabout the theme. You will also have some ideas about what to look for to identifythe theme.

Part 2: Reading the PassageNow you can read the passage. As you read the passage, think about what you arereading. Think about the events that are occurring and what the characters aresaying and doing. Think about what information is given and what the authorwants you to know. It can be a good idea to take notes as you read the passage.Here are some things to think about as you read.

• What is the passage mainly about? What is happening in the passage?

• What are the main events? Do these events reveal a theme?

• Who is the main character? What is the main character like?

• Is there a main problem or conflict? How is it solved?

• Is there a turning point? Does something or someone change in some way?

• Does the passage have a main lesson or an important message about life?

• What important ideas are in the passage? What does the author mostwant readers to know?

• What is the overall purpose of the passage?

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• How does the author feel about the topic? How does the author make youfeel about the topic?

• What does the author seem to believe?

By considering these questions, you should have identified one or more themes.

Part 3: Close and Careful ReadingNow that you have identified some themes, you should read the passage closely.This time, focus on the themes you have identified. Read the passage and takenotes on each theme. Identify details from the passage that relate to the theme.Focus on what the passage says about the theme and how the passage givesinformation on the theme. You might record key events, important details, or keysentences from the passage. By close reading, you will analyze the passage toidentify what the themes are and how they are communicated.

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GlossaryAuthor’s PurposeThe author’s purpose is why the author wrote the passage. Authors write passagesto entertain, to inform, to instruct, to explain, and to persuade.

CharacterA character is a person in a story, poem, or play.

CharacterizationCharacterization refers to how an author tells the reader about a character. It canbe by describing a character. It can also be by describing what a character lookslike, how a character feels, or what a character does.

Close ReadingClose reading refers to reading a passage carefully and paying attention to thedetails of the passage. Close reading involves looking closely at what the passagesays, thinking about the details of the passage, and analyzing the passage based onthe details. Close reading is used to identify details to support conclusions,inferences, and predictions, and to identify what the themes are and how they arecommunicated.

ConflictThe conflict is the main problem or struggle that takes place in a passage. Theconflict can reveal the theme of the passage.

DetailsDetails are facts or pieces of information given. Two or more details can be used todraw conclusions or to make inferences. The details in a passage are the evidenceused to support conclusions, inferences, predictions, and decisions made about themain ideas and themes.

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Draw ConclusionsDrawing conclusions refers to making decisions based on facts and details in apassage. For example, a text might describe how it is late at night and how acharacter is yawning. These details could be used to conclude that the character is tired.

FactA fact is a piece of information that can be proven to be true.

GenreGenre refers to the form of a passage. There are many genres, and passages in eachgenre have common features. Knowing the genre of a passage can help youdetermine the passage’s purpose. It can also help you analyze the passage’smeaning and identify the passage’s themes.

Examples:

• Fables have the main purpose of teaching a lesson. The theme of a fable canbe determined by focusing on what lesson the fable is meant to teach.

• Adventure stories are exciting stories that involve some sort of danger. Thetheme could be revealed by how a character overcomes or avoids danger.

• Narrative poems describe a series of events. The meaning is often based onwhy the events are important to the poet or what the poet wants to expressby describing them.

• Odes are poems written to praise something. The theme of an ode is oftenwhat is being praised or what makes the object being praised special.

• Biographies tell about a person’s life. Biographies may include lessons aboutlife or have themes like making a difference or overcoming challenges.

LessonIn literature, a lesson is a truth about life a character learns or a truth about life areader learns from the passage.

Main IdeaThe main idea of a passage is what the whole passage is about. A passage mayinclude several ideas, but the main idea is the most important idea of the wholepassage. A main idea may be stated, or you may have to infer what the main idea is.

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Make InferencesMaking inferences refers to making a guess about something based on facts anddetails from a passage. Inferences are made based on the information in a passage,but can also use what you already know. Inferences can be made about howcharacters feel, why something happens, or what a character learns. Inferences canalso be made about what an author thinks, what an author’s purpose is, and whatthe author’s message is.

Make PredictionsA prediction is a guess made about what will happen in the future. When makingpredictions, details from the text should be used to support the prediction.

MoodMood refers to how a text or part of a text makes the reader feel, or the feelingscreated in the reader.

NarratorThe narrator of a work is the person telling the story.

OpinionAn opinion is a statement that cannot be proven to be true, or a personal view ofsomething.

PlotThe plot is the pattern of events that takes place in a passage.

Point of ViewPoint of view refers to the position of the speaker of a work. The point of view canbe first person, second person, third person limited, or third person omniscient.

PositionThe author’s position refers to how the author feels about a topic, or the author’sviewpoint. The author’s position or viewpoint can reveal the theme.

SettingThe setting of a story, poem, or play refers to where and when the events take place.

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StructureThe structure of a passage is how the passage, or part of the passage, is organized.Common structures include chronological order or sequence of events, cause andeffect, problem and solution, main idea and supporting details, compare andcontrast, question and answer, and order of importance.

StyleThe style of passages refers to how authors express themselves, or how authorswrite.

SubtitleA subtitle is a second part of a title. Subtitles give more information about apassage. They can show the passage’s focus, purpose, main idea, message, or theme.

Examples:

• Seeds: Nature’s WonderThis subtitle suggests that seeds are amazing.

• Storms: How to Stay SafeThis subtitle shows the main purpose of the article.

• The Piano: Practice Makes PerfectThis subtitle states the message of the story.

SummarizeA summary is a short description of a passage that gives the main points. Whensummarizing a passage, only the important events, details, and ideas should be included.

Supporting DetailSupporting details are details included to support a main idea.

SymbolismSymbolism is a literary technique where a word, object, or event is used to standfor something else. For example, white snow might symbolize that something ispure. Symbolism can be used to create meaning and can be used to helpcommunicate a theme.

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ThemeA theme is the central idea of a passage or the lesson or message that the authorwants to convey. In literature, themes hold the story or poem together. Ininformational texts, the theme can be the central topic of the passage or can be a message, thought, or idea communicated by the passage.

TitleA title is what a passage is called. Some titles are straightforward and state the topic of the passage or the main idea of the passage. Other titles are lessstraightforward and need to be analyzed to work out their meaning. Titles can be used as clues to understand passages and their themes.

Examples:

• My First Airplane FlightThis title states the topic of the story.

• Eat Well, Live WellThis title states the main idea of the article.

• Too Little Too LateThis title gives a clue about the theme of the story.

ToneTone is how the author feels about the subject.

TopicThe topic of a passage is what the passage is about or the subject of the passage.

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InstructionEach passage or set of passages is introduced with

key background information that will help studentsanalyze and evaluate the passage, understand the theme,

and make connections between passages with common themes.

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Passage 1: Single Passage

Introduction: This passage is a myth that will be analyzed on its own. Myths aretraditional stories that usually describe how the world came to be in its presentform. This myth tells a story that explains why coyotes and snakes do not getalong. The main characters in the story are animals, but they are described as ifthey have human qualities. The flaws of the characters offer a lesson that readerscan apply in their own lives. As you read the myth, think about what flaws thecharacters have, what problems they cause, and what readers can learn from the story.

/ The Coyote and the Snake \Adapted from a Hopi Myth

1 Once upon a time a Coyote and a Snake met on the edge of a river. Theychatted about how high the river was and how warm the days were. Theconversation between them came easily, and a healthy friendship began toform. After a pleasant chat together, the Coyote decided that he wanted theSnake to visit him that evening. It was customary to invite close friends overin the evening, so this invite was quite significant. It was an offer to become aclose friend instead of just a passing acquaintance. The Snake gratefullyaccepted the invite, and the two parted to meet again later that evening.

2 The Snake was pleased to receive the invite and prepared himself nicely. Hespent some time polishing his scales so that he would look clean and well-kept. Before that, of course, he went out into the fields to catch a small snackto take with him to his new friend’s house.

3 The Coyote had also prepared well for his visitor. He had cleaned his smallhome so that his new friend would feel comfortable there. The Coyote wasready when his guest arrived and invited him to come right in. The Snakepolitely thanked his host and began to make his way inside the small home.He started by poking his head through the doorway, and then followed withhis body. The Coyote’s home was not the optimal shape for a long-bodiedcreature like a snake, but the Snake did his best not to show any concern.

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He did not want his new friend and host to feel that he disliked his home, sohe entered without complaint and tried to maintain a pleasant smile as he didso. He twisted his long body around as he entered, so that finally he wascurled up into a tight coil. By the time he was inside the Coyote’s home, therewas no room at all for the Coyote. The Coyote first crowded himself tightlyagainst the wall, but then found he was better just to stand outside thedoorway and only poke his head into his home.

4 The Coyote assured the Snake that he was happy being mainly outside, whilepointing out that he had thick fur and so actually preferred it outside. TheSnake assured the Coyote that he was comfortable and that his body wasintended to be wound up tightly like a coil. And so the two friends stayed asthey were during the visit.

5 The Coyote and the Snake could still easily chat, and so they did mainly havea good visit. The conversation flowed easily, and the Snake managed to forgethow uncomfortable he felt for most of the time. Gradually though, the nightbecame colder and colder. The Coyote shivered, though he managed to hidehis discomfort by pretending he was laughing. Finally, the Coyote could notmaintain his false happiness and he began to get grumpy. The conversationlulled and the Snake finally decided it was time to make his exit. He assumedhis friend’s change of character was merely tiredness and thought nothing bad of it. He politely said his goodbyes and uncoiled himself from his newfriend’s home.

6 As is also customary of new friends, he did not leave without first inviting theCoyote over to his home the next night. The Coyote agreed to the request andthe two parted for the evening.

7 The Coyote went into his warm home and made himself comfortable. His coldbody gradually warmed up, but his bad mood did not pass. He kept ponderinghow the Snake had taken up all the room in his home and made him sitoutside his very own home. He began to wish that he had not accepted theSnake’s offer to visit him, but then he came up with a plan that made himsmile. He decided he would not let his friend’s actions go lightly.

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8 The next day, the Coyote went and gathered bark from the cedar tree, cornhusks, and pine gum. With all his items gathered, he began to fashion himselfa great long tail. He was not yet satisfied with his creation, so he added wooland hair to his new tail. He now had a tail that was not only long, but largeand bushy as well.

9 When evening came, he waited for it to get dark and then set off for theSnake’s home with his long tail dragging behind him. The Snake was pleasedto see his friend and had prepared for him. He had a nice fire going within hishome so that the two could chat together over the warmth of the cracklinglogs. The Snake received his friend with good welcome and told him to comeright in and get warm.

10 The Snake then watched as the Coyote went in head first and then spunaround and around so that his long tail coiled all around him and filled thewhole space. The Snake knew that the Coyote had made this tail and assumedhe had done so to make fun of him. However, he chose not to insult his friendor cause an argument, and so he said nothing of the Coyote’s behavior. Hesimply sat himself just outside his home and started chatting to the Coyote asif nothing was wrong at all.

11 The Snake became very cold as the night went on, and his anger began togrow, but still he kept his feelings hidden. Finally, the Coyote announced thatit was late and time for him to go. The Snake slithered into his warm homeeven as the Coyote was still making his way out. As the Coyote’s thick tailuncurled, the Snake’s anger suddenly boiled over. With the Coyote lookingaway from him, he sneakily held the end of the tail over the fireplace. As thetail was not real, the Coyote felt nothing. With his tail slowly burning like thewick of a candle, he said goodnight to the Snake and went on his way.

12 He had not gone far when he felt warmth behind him. Then he felt a suddenburning sensation. He turned around to see not only his tail on fire, but thegrass behind him on fire as well. The fire quickly spread through the grass untilit seemed like there was fire everywhere. The Coyote raced quickly away towardthe river, setting more grass on fire as he did so. He dove into the river, whichfinally put his tail out. But by now everyone had seen what he had done, andhe knew he would never be welcome again. From that day forward, he stayedon the other side of the river and he never met with the Snake again.

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1 Why does the Coyote make a tail?

A He feels jealous of the Snake’s tail.

B He plans to use it to stay warm.

C He wants to get the Snake back.

D He hopes it will amuse his friend.

2 Which statement describes the main message of the passage?

A You should accept others for who they are.

B You should speak up if something is wrong.

C You should always look behind you.

D You should not be too trusting of strangers.

3 Read this sentence from the passage.

With his tail slowly burning like the wick of a candle, he said goodnight tothe Snake and went on his way.

What does the comparison to the wick of a candle mainly suggest?

A That the flame will soon reach the Coyote

B That the fire will quickly spread

C That the flame will go out on its own

D That the fire will melt the Coyote

4 What is the main reason the Coyote and the Snake do not become good friends?

A They cannot find anything interesting to talk about.

B They are not honest with each other.

C They do not take the friendship seriously.

D They live too far away from each other.

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5 The passage gives the Snake and the Coyote human characteristics. Describetwo ways the Snake and the Coyote act in similar ways to people as theyattempt to become friends. Use details from the passage to support your answer.

6 How do the Snake’s and the Coyote’s feelings about each other change duringthe passage? Use at least two details from the passage to support your answer.

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7 Politeness is a positive quality, but too much politeness can cause problems.Describe how the Coyote and the Snake both try to be too polite and how thisaffects the events. Use details from the passage to support your answer.

In your response, be sure to• describe how the Coyote tries to be too polite• describe how the Snake tries to be too polite• explain how the politeness affects the events• use details from the passage to support your answer

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Passages 2 and 3: Passages Connected by a Theme

Introduction: The next two passages are connected by some common ideas. Thefirst passage is a poem called “To the River Charles.” The poem is an ode, which isa poem written to praise something. The second passage is a story called “Life onthe River.” As the titles show, both passages have a river as a central feature. Asyou read the passages, think about how the poet and the narrator each describetheir river and what their river means to them. Try to determine what ideas aboutthe river are present in both passages, and how the passages are different eventhough they share a common topic.

/ To the River Charles \by Henry Wadsworth Longfellow

1 River! that in silence windestThrough the meadows, bright and free,Till at length thy rest thou findestIn the bosom of the sea!

2 Four long years of mingled feeling,Half in rest, and half in strife,I have seen thy waters stealingOnward, like the stream of life.

3 Thou hast taught me, Silent River!Many a lesson, deep and long;Thou hast been a generous giver;I can give thee but a song.

4 Oft in sadness and in illness,I have watched thy current glide,Till the beauty of its stillnessOverflowed me, like a tide.

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5 And in better hours and brighter,When I saw thy waters gleam,I have felt my heart beat lighter,And leap onward with thy stream.

6 Not for this alone I love thee,Nor because thy waves of blueFrom celestial seas above theeTake their own celestial hue.

7 Where yon shadowy woodlands hide thee,And thy waters disappear,Friends I love have dwelt beside thee,And have made thy margin dear.

8 More than this;—thy name reminds meOf three friends, all true and tried;And that name, like magic, binds meCloser, closer to thy side.

9 Friends my soul with joy remembers!How like quivering flames they start,When I fan the living embersOn the hearth-stone of my heart!

10 ‘T is for this, thou Silent River!That my spirit leans to thee;Thou hast been a generous giver,Take this idle song from me.

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/ Life on the River \Adapted from The Adventures of Huckleberry Finn by Mark Twain

1 Two or three days and nights went by; I reckon I might say they swum by,they slid along so quiet and smooth and lovely. Here is the way we put in thetime. It was a monstrous big river down there — sometimes a mile and a halfwide. We run nights, and laid up and hid daytimes. As soon as night was most gone we stopped navigating and tied up — nearly always in the deadwater under a towhead, and then cut young cottonwoods and willows, andhid the raft with them. Then we set out the lines. Next we slid into the riverand had a swim, so as to freshen up and cool off. Then we set down on thesandy bottom where the water was about knee deep, and watched the daylightcome. Not a sound anywheres — just like the whole world was asleep, onlysometimes the bullfrogs a-cluttering, maybe. The first thing to see, lookingaway over the water, was a kind of dull line — that was the woods on t’otherside. You couldn’t make nothing else out; then a pale place in the sky; thenmore paleness spreading around. Then the river softened up away off, andwarn’t black any more, but gray. You could see little dark spots drifting alongever so far away, and the long black streaks of rafts. Sometimes you could heara sweep screaking or jumbled up voices. It was so still, and sounds come so far.By and by you could see a streak on the water which you know by the look ofthe streak that there’s a snag there in a swift current which breaks on it andmakes that streak look that way. And you see the mist curl up off of the water,and the east reddens up. You make out a log-cabin in the edge of the woods,away on the bank on t’other side of the river, being a woodyard, likely, andpiled by them cheats so you can throw a dog through it anywheres. Then thenice breeze springs up, and comes fanning you from over there, so cool andfresh and sweet to smell on account of the woods and the flowers. Butsometimes not that way, because they’ve left dead fish laying around, gars and such, and they do get pretty rank. And next you’ve got the full day, and everything smiling in the sun, and the song-birds just going it!

2 A little smoke couldn’t be noticed now, so we would take some fish off of the lines and cook up a hot breakfast. And afterwards we would watch thelonesomeness of the river, and kind of lazy along, and by and by lazy off tosleep. Wake up by and by, and look to see what done it, and maybe see a

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steamboat coughing along up-stream, so far off towards the other side youcouldn’t tell nothing about her only whether she was a stern-wheel or side-wheel. Then for about an hour there wouldn’t be nothing to hear nor nothingto see — just solid lonesomeness. Next you’d see a raft sliding by, away offyonder, and maybe a galoot on it chopping, because they’re most alwaysdoing it on a raft. You’d see the axe flash and come down — you don’t hearnothing. You see that axe go up again, and by the time it’s above the man’shead then you hear the K’CHUNK! — it had took all that time to come overthe water. So we would put in the day, lazying around, listening to thestillness. Once there was a thick fog, and the rafts and things that went by wasbeating tin pans so the steamboats wouldn’t run over them. A scow or a raftwent by so close we could hear them talking and cussing and laughing. Weheard them plain, but we couldn’t see no sign of them. It made you feelcrawly. It was like spirits carrying on that way in the air. Jim said he believed itwas spirits; but I says: “No. Spirits wouldn’t say, ‘Dern the dern fog.’”

3 Soon as it was night out we shoved. When we got her out to about the middlewe let her alone, and let her float wherever the current wanted her to. Thenwe lit the pipes, and dangled our legs in the water, and talked about all kindsof things — we was always naked, day and night, whenever the mosquitoeswould let us. The new clothes Buck’s folks made for me was too good to becomfortable, and besides I didn’t go much on clothes, nohow.

4 Sometimes we’d have that whole river all to ourselves for the longest time.Yonder was the banks and the islands, across the water. And maybe a spark —which was a candle in a cabin window. And sometimes on the water youcould see a spark or two — on a raft or a scow, you know. And maybe youcould hear a fiddle or a song coming over from one of them crafts. It’s lovelyto live on a raft. We had the sky up there, all speckled with stars, and we usedto lay on our backs and look up at them, and discuss about whether they wasmade or only just happened. Jim he allowed they was made, but I allowedthey happened. I judged it would have took too long to MAKE so many. Jimsaid the moon could a LAID them. Well, that looked kind of reasonable, so Ididn’t say nothing against it, because I’ve seen a frog lay most as many, so ofcourse it could be done. We used to watch the stars that fell, too, and see themstreak down. Jim allowed they’d got spoiled and was hove out of the nest.

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5 Once or twice of a night we would see a steamboat slipping along in the dark,and now and then she would belch a whole world of sparks up out of herchimbleys, and they would rain down in the river and look awful pretty. Thenshe would turn a corner and her lights would wink out and her powwow shutoff and leave the river still again. And by and by her waves would get to us, along time after she was gone, and joggle the raft a bit, and after that youwouldn’t hear nothing for you couldn’t tell how long, except maybe frogs or something.

6 After midnight the people on shore went to bed, and then for two or threehours the shores was black — no more sparks in the cabin windows. Thesesparks was our clock — the first one that showed again meant morning wascoming, so we hunted a place to hide and tie up right away.

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8 Which description of the river describes it in the most similar way to stanza 4of the poem?

A It was a monstrous big river down there — sometimes a mile and a half wide.

B Next we slid into the river and had a swim, so as to freshen up and cool off.

C Not a sound anywheres — just like the whole world was asleep, only sometimesthe bullfrogs a-cluttering, maybe.

D Then the river softened up away off, and warn’t black any more, but gray.

9 Which word would both the poet and the narrator of “Life on the River” use to describe the river?

A Busy

B Dull

C Peaceful

D Dangerous

10 Which statement describes the relationship between both the poet and hisriver and the narrator and his river?

A They both fear what the river can do.

B They both appreciate what the river has given them.

C They both accept the river for its flaws.

D They both worry about the future of the river.

11 The poem describes the river as a generous river. Why would the narrator of“Life on the River” most likely describe his river as generous?

A It holds many good memories.

B It provided him with both food and shelter.

C It was busy with many rafts and boats.

D It allowed him to be himself.

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12 Compare the point of view in the poem and the story and describe who the poem and the story are addressed to. Use details from both passages to support your answer.

13 Based on the story and the poem, what can be concluded about the ages of the poet and the narrator? Use details from both passages to support your answer.

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14 The poem and the story both use imagery to help readers imagine the river.Compare and contrast the imagery used in the poem and the story, andexplain which passage best allows the reader to imagine the river. Use detailsfrom both passages to support your answer.

In your response, be sure to• describe the imagery used in the poem• describe the imagery used in the story• explain which passage best allows the reader to imagine the river• use details from both the poem and the story to support your answer

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Introduction: The next two passages are different types of nonfiction and havedifferent topics. The first passage is an article titled “Candles.” It is based on ascientific paper written by the influential scientist Michael Faraday. The secondpassage is an essay written by a student titled “Our Place in Space.” The twopassages are on different topics, but they are both related to science and scientificdiscovery. Now read both passages and see if you can work out what commonideas about science they share.

/ Candles \Adapted from a Scientific Paper by Michael Faraday

1 There is not a law under which any part of this universe is governed that doesnot come into play in the phenomena of the candle. There is no better doorby which you can enter into the study of science than by considering thephenomena of a candle.

2 And now, my boys and girls, I must first tell you of what candles are made.Some are great curiosities. I have here some bits of timber, branches of treesparticularly famous for their burning. And here you see a piece of that verycurious substance taken out of some of the bogs in Ireland. It is calledcandlewood. It is a hard, strong, excellent wood. It burns so well that, where itis found, they make splinters of it, and torches, since it burns like a candle,and gives a very good light indeed. And in this wood we have one of the mostbeautiful illustrations of the general nature of a candle that I can possibly give.

3 But we must speak of candles as they are in commerce. Here are a couple ofcandles commonly called dips. They are made of lengths of cotton cut off,hung up by a loop, dipped into melted tallow, then taken out again andcooled. They are then dipped again and again until there is a layer of tallowaround the cotton. However, a candle, you know, is not now a greasy thinglike an ordinary tallow candle, but a clean thing. You may almost scrape offand crush the drops which fall from it without soiling anything.

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4 The candle I have in my hand is a stearine candle. Here, also, are yellowbeeswax and refined beeswax from which candles are made. Here, too, is thatcurious substance called paraffin, and some candles made of paraffin obtainedfrom the bogs of Ireland. I have here also a substance brought from Japan, asort of wax which a kind friend has sent me, and which forms a new materialfor the manufacture of candles.

5 Now, as to the light of the candle. We will light one or two, and set them atwork in the performance of their proper function. You observe a candle is avery different thing from a lamp. With a lamp you take a little oil, fill yourvessel, put in a little moss, or some cotton prepared by artificial means, andthen light the top of the wick. When the flame runs down the cotton to theoil, it gets stopped, but it goes on burning in the part above. Now, I have nodoubt you will ask, how is it that the oil, which will not burn of itself, gets upto the top of the cotton, where it will burn? We shall presently examine that.But there is a much more wonderful thing about the burning of a candle thanthis. You have here a solid substance with no vessel to contain it. And how isit that this solid substance can get up to the place where the flame is? Or,when it is made a fluid, then how is it that it keeps together? This is awonderful thing about a candle.

6 You see, then, in the first instance, that a beautiful cup is formed. As the aircomes to the candle, it moves upwards by the force of the current which theheat of the candle produces. It cools all the sides of the wax, tallow, or fuel asto keep the edge much cooler than the part within. The part within melts bythe flame that runs down the wick as far as it can go before it is stopped, butthe part on the outside does not melt. If I made a current in one direction, mycup would be lopsided, and the fluid would run over. The same force ofgravity which holds worlds together, holds this fluid in a horizontal position.You see, therefore, that the cup is formed by this beautifully regular current ofair playing upon all sides, which keeps the exterior of the candle cool. No fuelwould serve for a candle which has not the property of giving this cup, exceptsuch fuel as the Irish bogwood, where the material itself is like a sponge, andholds its own fuel.

7 You see now why you have such a bad result if you burn those beautiful fluted candles. They are irregular in their shape and cannot therefore havethat nicely-formed edge to the cup which is the great beauty in a candle.

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I hope you will now see that the perfection of a process is the better point ofbeauty about it. It is not the best-looking thing, but the best-acting thingwhich is the most advantageous to us. This good-looking candle is a badburning one. There will be a guttering round about it because of the irregularityof the stream of air and the badness of the cup which is formed thereby.

8 You may see some pretty examples of the action of the current when you havea little gutter run down the side of a candle, making it thicker there than it iselsewhere. As the candle goes on burning, that keeps its place and forms alittle pillar sticking up by the side, because, as it rises higher above the rest ofthe wax or fuel, the air gets better round it, and it is more cooled and betterable to resist the action of the heat at a little distance. Now, the greatestmistakes and faults with regard to candles, as in many other things, oftenbring with them instruction which we should not receive if they had notoccurred. You will always remember that whenever a result happens, especiallyif it be new, you should say: “What is the cause? Why does it occur?” And youwill in the course of time find out the reason.

9 Then there is another point about these candles which will answer a question.That is, as to the way in which this fluid gets out of the cup, up to the wick,and into the place of combustion. You know that the flames on these burningwicks in candles do not run down to the wax and melt it all away, but keep totheir own right place. They are fenced off from the fluid below, and do notencroach on the cup at the sides.

10 I cannot imagine a more beautiful example than the condition of adjustmentunder which a candle makes one part serve the other to the very end of itsaction. A combustible thing like that, burning away gradually, never beingintruded upon by the flame, is a very beautiful sight. It is especially beautifulwhen you come to learn what a vigorous thing flame is. It has great power todestroy, but the wax itself is not destroyed.

11 But how does the flame get hold of the fuel? There is a beautiful point aboutthat. It is by what is called capillary attraction that the fuel is conveyed to thepart where combustion goes on. It is deposited there, not in a careless way, butvery beautifully in the very midst of the center of action which takes placearound it.

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/ Our Place in Space \1 I have heard many people say that we have no business spending billions of

dollars on space exploration when we have so many problems here on Earth. Ihave given this a lot of thought, and I can see how someone might say this,because we certainly do have a lot of problems here on Earth, and there are alot of programs that could use the money. But if you are one of those whothink we should halt space exploration, I have one question for you: How doyou turn off mankind’s curiosity about the space that surrounds him?

2 The reason civilization has evolved to where it is today is because people arecurious. The human brain is always at work—sometimes very productively andsometimes less so—and small wonderings turn into world-altering discoveriesand inventions. What would have happened if Galileo had said to himself,“Well, it’s possible that the Sun is actually the center of our Solar System, butsince everyone else says Earth is the center, then so it must be”? What if hehad gone no further in his explorations? It sounds ridiculous now, knowingwhat we do about Galileo, but another person might have done just that.Another person might have even decided that it did not even matter whetherthe Sun or the Earth was at the center of the Solar System. Even so, what Ithink would have happened is that the next great thinker who wonderedabout the same question would have picked up where Galileo left off, andthen it would be that individual’s name that we would remember today. Youjust cannot turn off human curiosity, and there will always be people askingwhy, how come, and are you sure.

3 Once we know something, it is human nature to want to take the next step.So now that we know what we do about space, which is so much more thanGalileo knew, and yet so little, we want to know more. We want answers to allthe questions that arise every time we learn something new about theuniverse. What is a black hole? What is beyond the universe that we havebeen able to see so far? Can we really live on the Moon? Could we actuallytake vacations in space? Are there other planets out there with life-supportingatmospheres like ours, and are the inhabitants anything like us? These issuesdon’t just make for exciting movies—these are the things that people actuallywonder about every day, and that some people spend their lifetimes studying,

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hoping to discover one more truth, prove one more theory, or answer onemore question.

4 When Sir Isaac Newton dropped objects to see if one might fall faster thananother, he didn’t just see his result, call it good, and stop there. What hediscovered led him to ask more questions. He developed hypotheses andtheories. He experimented, tested, and learned, and he went on to define andexplain gravity. Can you imagine not knowing what gravity is and how itaffects your world? Once scientists had this knowledge, many were eager tosee how it applied to other theories.

5 Now we know that the tides are caused by the gravitational pull of the Moonon Earth. We know that we stay in orbit around the Sun because of itsgravitational pull, and that the Moon continues to orbit around us because ofEarth’s pull on it. Earth is such a tiny part of the huge cosmic picture. Notwondering what is beyond our atmosphere and not exploring it would be likestaying inside your own house and not wondering about the world outside, orbuilding walls around your state or country and not wondering about what’shappening beyond those walls! It’s important to know what’s going on outsideyour door, and it’s important for us to know what’s going on in the universebeyond our planet.

6 Maybe you don’t agree that it’s important. If you don’t, then I refer you backto my original question: How do you stop mankind’s curiosity? If Magellan,Columbus, and all the others before them hadn’t put their little boats into theocean in search of knowledge, someone else would have. There will always besomeone who has to know the answers. There will always be people who arewilling to risk their lives for the thrill of exploration and discovery. What weknow changes all the time. Our history and science books are not the sameones that our parents used. While some things stay the same, such as thehistory of transportation in the twentieth century, more history is beingwritten all the time, as new modes of transport are being explored anddeveloped. People want to know how they can get there faster or cheaper.How can travel be more energy efficient and less harmful on ourenvironment? Travel is just one example. Every day, every aspect of humanlife is changing, to a greater or lesser degree. Many of those changes are due to the fabulous human trait of curiosity.

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7 Maybe you’re thinking that it was all right for the people of the past towonder about things because they knew so little. Maybe you’re thinking thatwe know enough now. But that’s what people of the past might have thoughtback then! They didn’t know how much larger the world was than theythought, or how much new knowledge there was to be gained. You have tohave the imagination to ask the questions and keep exploring because of whatyou might find that you didn’t even know could be found!

8 The innovations made in the process of space exploration help us here onEarth, too. Not only have we gotten things like space blankets, but the entirefield of computer technology has been spurred on by the work done by NASAscientists. The satellites we put into space have given us capabilities that weonce thought were only science fiction. Fifty years from now, the things wenow think of as science fiction—the things we see only in the movies—may be commonplace.

9 In today’s world, it seems anything is possible. And there are people who aretaking on challenges and finding ways to make the impossible possible andthe unknown known. In ways small and large, these individuals will advanceour knowledge of our planet, and the universe in which it moves. The thingsthese dynamic thinkers learn will be shared with their peers, with otherscientists around the world, and with us. We will all benefit from theircuriosity and wonder and commitment to progress.

10 So should we ignore all the problems here on Earth while we look into theunexplored vastness of space? I wouldn’t suggest that, of course. We need tofind a balance between solving our more immediate problems and seekingnew knowledge of space. But when people ask, “Why are we undertakinganother space mission when we have yet to solve problems like worldhunger?” I think the answer is, “Because we can, and because it’s the only way to find out what’s out there. It’s the only way to answer our questions.And because we need to know.”

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15 Which idea from “Our Place in Space” is best supported by the information in “Candles”?

A How important scientists are remembered

B How scientists understand the world by asking questions

C How the ideas of one scientist are added to by others

D How scientists make anything possible

16 Read this sentence from “Our Place in Space.”

There will always be people who are willing to risk their lives for the thrillof exploration and discovery.

How does this sentence relate to the author of “Candles”?

A The author has risked his life for science.

B The author has explored new places.

C The author feels that studying science is worth any risk.

D The author finds discovering new things thrilling.

17 How do the authors of both passages most likely feel about science?

A Enthusiastic about how science increases knowledge

B Overwhelmed by how many things there are to know

C Fascinated by what new discoveries may still be made

D Concerned about how much studying science can cost

18 How is the information in “Candles” different from the information in “Our Place in Space”?

A It explains what science has achieved.

B It is focused on one example of applying science.

C It includes opinions about science.

D It uses details about the history of science.

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19 Read this sentence from “Our Place in Space.”

The human brain is always at work—sometimes very productively andsometimes less so—and small wonderings turn into world-alteringdiscoveries and inventions.

Explain how well this sentence describes the author’s analysis of the candle in“Candles.” Use details from the article to support your answer.

20 How do the two passages show that science can be focused on major issues orminor issues? Use details from both passages to support your answer.

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21 Both passages describe the work of scientists. Describe two qualities it isimportant for scientists to have and explain why each quality is important.Use details from both passages to support your answer.

In your response, be sure to• describe two qualities it is important for scientists to have• explain why each quality is important• use details from both passages to support your answer

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Independent PracticeThis section contains two individual passages with

questions for students to complete on their own, andthree pairs of passages connected by a theme withquestions for students to complete on their own.

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/ Making Fossils \Clues to the Past

1 Fossils are traces or remains from prehistoric times. Fossils are from plants andanimals that existed at least 10,000 years ago, but can be from plants andanimals that existed millions of years ago! Scientists use fossils as clues todetermine what was happening many years in the past. The study of fossilsand Earth’s history is called paleontology. Paleontologists use fossils to learnabout the activities or environments of ancient plants, animals, and societies.

2 Dinosaurs are one of the most famous fossilized animals. The last timedinosaurs were on Earth was 65 million years ago. Nobody has ever actuallyseen a dinosaur, so the only things that are known about dinosaurs come fromfossils. Amazingly, scientists know a lot about the many different types ofdinosaurs that existed. They know when they lived, how they lived, what theyate, and many other things about them. The fossils left behind have providedthe clues that have allowed scientists to learn all there is to know.

3 Many people presume that scientists find whole dinosaur skeletons neatlypreserved. This is far from the truth, and it is actually very rare to find even apartially complete skeleton. Scientists have to study what is found verycarefully to work out what information it gives. Dinosaur bones that are foundhave to be carefully extracted. Scientists will brush the dirt and sand awayfrom the fossils grain by grain. In some cases, it can take years for scientists toremove the fossil from the ground. They don’t provide simple answers either.Just like other areas of science, scientists make guesses based on theinformation they have. They may have to guess what part of the body a boneis from, and how a partial set of bones fits together. Unlike scientists in otherareas, paleontologists cannot perform experiments to see if they are right.They simply have to wait for new discoveries and then compare that newinformation with what they already know. It can be a frustrating profession,but the advances that are gradually made make it well worth the effort.

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Fossil Formation4 A fossil usually forms when sand, mud, or clay buries an object. In other

instances, fossils have formed by freezing, in volcanic eruptions, or in stickytar. Fossils are split into two categories: body fossils and trace fossils. Bodyfossils consist of actual material from a plant or animal, such as a grain ofpollen, a bone, or a tooth. A trace fossil is a sign of a plant or animal that hasbeen preserved in rock, such as leaf impressions or dinosaur footprints.

5 Believe it or not, you can make your own trace fossils at home! Before youbegin making fossils, though, consider that your fossils may not look the wayyou expect them to. It may take some practice and many tries to get yourfossils right. Remember to be patient and keep trying until you get the perfect fossils. Just like real scientists, you will have to persevere. Keep someextra supplies on hand just in case you need to try again. It’s always good tobe prepared.

Making Your Own Fossils6 To make your fossils, you will need to find an object that you can press

into your own homemade plaster mold. Here are some objects that make good fossils:

• shells• leaves• feathers• your hand or foot

7 Once you have found an object to turn into a fossil, you will need to gathersome materials to make your mold. First, you will need a shoebox or someother cardboard box in which your fossils can dry. Make sure the edges of thebox are sealed tight. When you pour the plaster mixture in, you don’t want itto leak out! You can apply packing tape to the corners and edges of the box tohelp seal it. Next, you will need to make a plaster mixture. You will need 2cups of plaster of Paris, which is a white, powdery material that you can buyat a local home improvement store. You will also need to collect about 1 cupof sand from outside or buy some sand from a store. To finish your plastermixture, you will need about 1 cup of water. You will need a large bowl inwhich you can combine all of your materials. Once you have gathered theingredients, you can start making your fossils.

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8 Here is how to make your fossils:

9 1. Mix your plaster of Paris and water in the mixing bowl. Your mixtureshould look like yogurt. If it is thicker than yogurt, add more water. If it isthinner than yogurt, add more plaster of Paris.

10 2. Pour half of your mixture into the cardboard box or shoebox. Using yourhand, lightly tap the sides of the box to level the plaster. Make sure thatyou cannot see any air bubbles. Place the objects that you plan to use tomake fossils into the plaster. You can even use your hand or your foot tomake imprints. Allow the object to sit in the plaster for a few minutes.While you wait, mix the sand into the plaster that remains in the bowl.After a few minutes, remove the object from the plaster and pour theplaster and sand mixture over your trace fossil. Tap the box again to helpsettle the plaster.

11 3. Put the box containing your fossil in a place where it will not getdisturbed, and allow it to dry. You should give your fossil 2 to 3 days to dry completely. You want the plaster to harden into a rock. Your fossil willturn out better if you give the plaster enough time to dry. Remember thatit takes thousands of years for real fossils to form in nature, so two or threedays is not so bad! When you are certain that your fossil is completely dry,tear the cardboard away from the plaster. To free your fossil from the newly formed rock, you will need to tap the side gently with a hammer. Be sure to be careful when completing this step. If you hit the plaster too hard, you might break your fossil. Tapping the side of the plaster with the hammer should split it into two pieces. When it separates, you will be able to see a fossil in each half!

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Fossilize Your Life12 You have just made fossils out of natural items. Now imagine that it is far in

the future, and the people of the future are finding fossils that tell them aboutyour life. Try to think like a scientist, and consider some questions. If someonewere to discover your fossil 10,000 years from now, what might he or shelearn about you? What clues about society do you want to leave for people todiscover? What common items are part of your everyday life? One idea is tomake fossils of a knife and fork. Scientists today make guesses about whatdinosaurs ate based on fossils of their teeth. Scientists in the future mightmake guesses about what you ate based on the tools you used. Choose someitems that represent how you live and make fossils of them.

1 Why does the author include information about dinosaurs in the second paragraph?

A To encourage readers to search for fossils

B To emphasize how much information paleontology has given

C To give readers ideas of what items to make fossils of

D To make paleontology sound more exciting than it really is

2 Read this sentence from the passage.

They simply have to wait for new discoveries and then compare that newinformation with what they already know.

The author included this sentence mainly to show that paleontologists need to be —

A creative

B patient

C insightful

D experienced

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3 The main message of paragraph 5 is about the importance of —

A not giving up

B being organized

C having an open mind

D working with others

4 Which sentence best reveals the author’s personal opinion of paleontology?

A The study of fossils and Earth’s history is called paleontology.

B Paleontologists use fossils to learn about the activities or environments of ancient plants, animals, and societies.

C Unlike scientists in other areas, paleontologists cannot perform experiments to see if they are right.

D It can be a frustrating profession, but the advances that are gradually made make it well worth the effort.

5 What is the most likely reason paleontologists take so much care whenextracting fossils? Use details from the passage to support your answer.

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6 Describe how the activity in the section “Fossilize Your Life” requires studentsto use skills similar to those used by real paleontologists. Use details from thepassage to support your answer.

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7 The work of a paleontologist is both challenging and rewarding. Describe themain challenges of the work and describe why the work would also berewarding. Explain whether or not being a paleontologist would be a satisfyingcareer. Use details from the passage to support your answer.

In your response, be sure to• describe the main challenges of being a paleontologist• describe why being a paleontologist would be rewarding• explain whether or not being a paleontologist would be a satisfying career• use details from the passage to support your answer

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/ Robin Hood and the Sad Knight \

Scene I.—In the Greenwood

1 [Robin Hood and his men are making arrows.]

2 ROBIN HOOD: This feather is too short. Give me another, Little John. This is abetter one.

3 MIDGE: Making arrows is not a simple thing, is it, my master?

4 ROBIN HOOD: Indeed, no. If the feathers are too short, the arrows will notkeep true to their course, and if the feathers are too long, the arrows will notfly swiftly.

5 LITTLE JOHN: If all men knew how to make arrows, their skill in shootingwould seem greater. Look to your arrows, I say, before you shoot.

6 WILL SCARLET: We should thank the gray goose for the even growth of herfeathers, which carry our arrows straight to the mark.

7 LITTLE JOHN: The morning’s work has given me a fine appetite.

8 ROBIN HOOD: It is good to eat, but not before we find some rich traveler topay the bill. Ride out, my man, and find us a host. Willing or unwilling, bidhim come.

9 LITTLE JOHN: I will, my master!

10 ROBIN HOOD: Remember, no farmer shall you bring. He works for what hegets and shall live in peace. And the laborer who toils for wife and child youmust not harm. Only those who oppress the poor and weak, those who areselfish and unkind, who play while others weep, these shall you bring to me.

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11 WILL SCARLET: But look, my master, what sorrowing knight rides there? Hisgarments are rich, but his countenance is sad and he rides slowly.

12 LITTLE JOHN: Hail, gentle knight. My master awaits you and would like yourcompany at dinner.

13 KNIGHT: Who is your master?

14 LITTLE JOHN: Robin Hood, and here he is to bid you welcome.

15 ROBIN HOOD: Welcome, Sir Knight. Pray you, dismount.

16 KNIGHT: God save you and all your company!

17 MIDGE: The dinner is served, my master.

18 ROBIN HOOD: Will you join us, Sir Knight? Here are pheasants and swans andmeat of the deer.

19 KNIGHT: Such a good dinner, with so many brave men, I have not eaten formany a day. If I come again to this country, I will make thee as good a dinner.

20 ROBIN HOOD: Thanks for your kind offer. But in the greenwood our guestsmust pay for their food. We will not pay for a rich knight!

21 KNIGHT: Sorry am I that you must call me poor. I would that I could pay you,but in my saddlebags are no more than ten shillings.

22 ROBIN HOOD: Is that indeed the truth, Sir Knight? Look carefully, Little John.If the knight speaks truly, he shall keep the ten shillings, but if not—

23 LITTLE JOHN: Indeed, my master, the knight speaks truly, for this is all themoney I can find.

24 ROBIN HOOD: How is it, noble knight, that you are so poor? Come, tell methe story. Maybe I can help.

25 KNIGHT: I am Sir Richard of Lea, and my ancestors have been knights for ahundred years. A year ago I had plenty of money to spend as I would. But now I have nothing for my wife and my children, who weep for my absencefrom them.

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26 ROBIN HOOD: But how did you lose all your money?

27 KNIGHT: Perhaps you will think I lost it in a foolish way. My son, whom Idearly love, is a manly youth. He can shoot and joust fairly in the field. Butonce, in a quarrel, he slew a youth, and to save him, I pledged all my lands.Unless I redeem them soon I shall lose them all.

28 ROBIN HOOD: What is the sum you are bound to pay?

29 KNIGHT: Four hundred pounds. The day is near and I have nothing.

30 ROBIN HOOD: It is a small sum. Have you no friends to help you in your timeof need?

31 KNIGHT: Many friends had I when I had money and lands. Now when I needtheir help they turn away and know me not.

32 ROBIN HOOD: By my faith, gentle knight, you shall not want for a friend.Little John, go to the chest and count out four hundred pounds.

33 WILL SCARLET: Shall he not have cloth for a coat, gentle master? He is thinly clad.

34 ROBIN HOOD: Well said, Will Scarlet. Get three measures of every kind, sothat he may be warmly clad.

35 LITTLE JOHN: Here is the money, Robin Hood, and good measure.

36 ROBIN HOOD: And what will you give, Little John, who are so generous also?

37 LITTLE JOHN: A pair of golden spurs, that he may ride fast to his castle andredeem his lands.

38 KNIGHT: Many thanks, Little John, and to you, my good friend. Tell me,Robin Hood, when shall I come to return the money you so kindly lend me?

39 ROBIN HOOD: This very same day next year! We will meet under this tree. Till then, be merry!

40 KNIGHT: I shall be with you a year from today. Farewell.

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Scene II.—In the Abbot’s Hall

41 ABBOT: This day a year ago Sir Richard of Lea borrowed four hundred poundsfrom me. He promised to pay in a year or lose his land. If he does not returntoday, the land will be mine.

42 PRIOR: The day is now far spent.

43 ABBOT: I hope he will not come.

44 PRIOR: The land is worth much more than four hundred pounds. It will be apity if he does not redeem it.

45 ABBOT: Then he should never have crossed me! Speak no more about it!Where is the Lord Justice?

46 LORD JUSTICE (enters): Here I am. I have just come from London to do justiceon that knight. Where is he?

47 ABBOT: The knight has failed to come with the money, and this is the daywhen the land falls to me.

48 LORD JUSTICE: I now declare that the knight, Sir Richard of Lea, has failed tokeep his promise and his lands are—

49 KNIGHT (entering and kneeling before the abbot): Rejoice with me, Sir Abbot, forI have made it here.

50 ABBOT: Have you brought the money?

51 KNIGHT (to try the abbot): Not a penny, but—

52 ABBOT: Why have you come here without the money?

53 KNIGHT: To ask your kindness and patience, Sir Abbot, for a longer time.

54 LORD JUSTICE: The day has come. You must give up your land, Sir Knight, if you cannot pay.

55 KNIGHT: Good Lord Justice, help me against my foes! I will surely pay, butmust have more time.

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56 LORD JUSTICE: I am sorry for thee, Sir Richard, but the law is plain. Either payyour debt or lose your land.

57 KNIGHT: Sir Abbot, I pray thee, have pity.

58 ABBOT: You will get no pity from me.

59 KNIGHT: You shall pay dearly for this.

60 ABBOT: Be gone, false knight! How dare you threaten me?

61 KNIGHT: False knight I am not, for I have fought well for my king. You shallnot have my land! Here, Sir Abbot, are the four hundred pounds. Had you notbeen so greedy, I would have given interest. Now be gone, and learn to dealmore justly and kindly with those in need.

62 [They go out.]

63 LADY LEA (entering): Oh, my dear husband! How glad I am to hear your voice again.

64 KNIGHT: Happy am I to see you again. I must tell you how kind Robin Hoodhas been to me.

65 LADY LEA: Robin Hood your friend? Is he not the outlaw of the forest?

66 KNIGHT: Yes, but he is kind to all who are unhappy or oppressed. He gave me money to redeem my land.

67 LADY LEA: I shall be glad to see him and his merry men, and will try to thank them all.

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8 Which statement best explains why Robin Hood leaves farmers and laborers alone?

A They deserve what they have because they have earned it.

B They are too busy with work and family to spend time feasting.

C They have too little money to be worth stealing from.

D They usually offer food or labor instead of anything of value.

9 Which line from the play best shows that Robin Hood is caring?

A ROBIN HOOD: Thanks for your kind offer. But in the greenwood our guests must pay for their food. We will not pay for a rich knight!

B ROBIN HOOD: Is that indeed the truth, Sir Knight? Look carefully, Little John. If the knight speaks truly, he shall keep the ten shillings, but if not—

C ROBIN HOOD: How is it, noble knight, that you are so poor? Come, tell me the story. Maybe I can help.

D ROBIN HOOD: It is a small sum. Have you no friends to help you in your time of need?

10 Read this line from the play.

KNIGHT: Many friends had I when I had money and lands. Now when Ineed their help they turn away and know me not.

Which theme of the play does this line best support?

A You might be surprised by who you can and cannot trust.

B You can never have too many friends.

C You must always prepare for difficult times.

D You should be careful before you make promises.

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11 Read these lines from the play.

ABBOT: I hope he will not come.

PRIOR: The land is worth much more than four hundred pounds. It will bea pity if he does not redeem it.

ABBOT: Then he should never have crossed me! Speak no more about it!Where is the Lord Justice?

The author includes these lines mainly to show that the abbot lacks —

A intelligence

B sympathy

C patience

D logic

12 How did the knight most likely feel when Robin Hood helped him? Use detailsfrom the passage to support your answer.

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13 Based on the play, predict whether the knight will repay Robin Hood. Use atleast two details from the passage to support your answer.

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14 Compare Robin Hood’s and the abbot’s actions. Explain which character is themost noble and describe how this communicates the play’s main theme. Usedetails from the passage to support your answer.

In your response, be sure to• compare the actions of Robin Hood and the abbot• explain which character is the most noble• describe how the differences between the characters helps communicate

the theme• use details from the passage to support your answer

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/ Taking a Swing \1 My father got a new job and had to relocate my whole family less than one

month before school let out for the summer. It was just enough time for me tobe the new girl at school, but not quite enough time to make any friends. Iknew that come fall, people wouldn’t even remember that my name was Saidiand I would be the new girl all over again. I had known it when I had startedat the new school, so I had not bothered to make too much effort to makenew friends. What would be the point if I just had to do it all over again a fewmonths later?

2 Since school let out, I’ve spent most of my time with my nose buried in books.Most of the books I read are about baseball. I’ve read books about the historyof baseball, about famous baseball players, and even about the rules ofbaseball. My love of baseball doesn’t stop at books, however. I also collectbaseball cards, watch baseball games on television, and even play severalbaseball video games. I had pretty much planned to spend the rest of mysummer in the library, searching for new baseball books or rereading oldfavorites. That is, of course, until my father threw me a curveball.

3 As I slid into my chair at the dinner table one evening, my father tossed apamphlet in my direction. I studied the cover carefully. It showed a group ofkids rowing a wooden boat across a sparkling lake. A large mountain stood inthe background. In letters that looked like they had been carved into a treestump were three words: CAMP PINE FOREST.

4 “Surprise,” said my father, his eyes twinkling. “I heard about this camp and Ithought it would be the perfect way for you to make some new friends beforeschool, so I signed you up.”

5 “You already signed me up?” I tried to hide the annoyance in my voice. I looked at my father, who beamed with pride over his brilliant idea forfinding me a way to make friends. I didn’t have the heart to tell him that I wasn’t interested. It wasn’t that likely that I would meet anyone from my

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school, and even if there were people from my school there, they wouldprobably already have their own friends.

6 “Great,” I said, trying to work up as much fake excitement as I could.

7 A few days later, my parents’ car jumped and jostled over a bumpy dirt roadlined with pine trees. Next to me sat a suitcase full of camp uniforms, asleeping bag, and a pillow. Eventually, we passed beneath a large arch madefrom logs with a sign reading “Camp Pine Forest.” The mess hall, where Iwould eat three soggy meals a day for the next three weeks, stood before us.Next to the mess hall, a red brick building served as the registration office andthe infirmary, where campers went to see the doctor for everything fromscratches to broken bones.

8 My father unloaded my bags while I checked in. A high school student namedRegina, who served as a camp-counselor-in-training, handed me a name tagand directed me to Cabin 8. I returned to my parents, hugged them goodbye,and trudged to my cabin.

9 Cabin 8 had a sagging roof and a bright red door. It looked like it had beenbuilt from logs cut down right around the time that the Mayflower deliveredPilgrims from England to the New World. Inside, the cabin buzzed withactivity. Other girls my age unpacked clothes, shared pictures from years past,and chose beds. I glanced around and saw only one girl from my school. Thebunk above hers appeared empty, so I shuffled across the cabin and tossed mybelongings onto the empty bed. I didn’t expect her to recognize me, but sheglanced up and smiled at me.

10 “Hey, you just started at my school, didn’t you?” she asked.

11 “I’m Saidi,” I said.

12 ‘’I’m Stephanie,” she replied. “Is this your first time here?’’

13 I nodded again.

14 “Me, too,” she said, breathing a sigh of relief. “I didn’t know anyone until yougot here and I was starting to get worried.”

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15 It was my turn to breathe a sigh of relief. She needed a friend as badly as I did.That afternoon, Stephanie and I got to know each other as we hiked with therest of the girls from Cabin 8 to the lake. After dinner, we went to a hugebonfire and then returned to the cabin for lights out. It was difficult to fallasleep. All around the cabin summer bugs chirped and hummed, and in thedistance, owls hooted and screeched. I felt dirty from my dip in the lake, and I had about seventeen bug bites on my legs. So far, the only good thing I haddiscovered at Camp Pine Forest was Stephanie.

16 The next day, while Stephanie was off to do arts and crafts in a building onthe other side of camp, I was left to fend for myself. I followed a few girls frommy cabin to the lake, but they all seemed to know each other so well that Idecided not to try and start a conversation. Instead of swimming with them, Isat on the dock and started reading a book about baseball’s greatest players ofall time.

17 “Hey, do you like baseball?”

18 I glanced up from my book. Denise, a girl with a long brown ponytail, hadjust hoisted herself from the lake onto the dock.

19 “I love baseball,” I said.

20 “Great!” she exclaimed. “We’re playing a game later at the baseball diamondby the mess hall. You’ll have to be on my team.”

21 While I pasted a huge smile on my face for Denise’s benefit, inside I wasfrowning. Earlier, when I mentioned how much I love to read about and watchbaseball, I probably should have mentioned that I’ve never actually playedbaseball once in my entire life. I had thought about it often, but the idea ofbaseballs flying at me at the batting cages scared me. I had even signed up for ateam once, but then I had worried constantly about being terrible at it andmaking a fool of myself. When the day of the first training came, I justwatched from a distance and then walked home to read about baseball instead.

22 That afternoon, I joined Denise at the baseball diamond and felt it was onlyfair to explain my situation before the rest of the team came to regret askingme to join them. When I finished, I looked at Denise and the other girls,expecting frowns. Instead, I saw only smiles.

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23 “Relax,” said Denise. “We’re only playing for fun, and if you already know andunderstand the rules, it’ll be a snap to teach you the basics.”

24 By the end of the day, I had practiced hitting, catching, and throwing the ball.At dinner, I introduced Stephanie to all of the other girls and we had anexcellent time talking and laughing. That night, I lay in bed with sore musclesand dirt under my fingernails. I thought about my day and realized that eventhough I had struck out during the baseball game, I felt like I had hit a homerun. Maybe camp wouldn’t turn out to be so bad after all. Maybe, just maybe,my new school wouldn’t be so bad either.

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/ The Perfect Picnic \1 Imelda clutched the picnic basket on her lap as Uncle Juan drove the station

wagon towards the park entrance. She had packed their lunch very carefully,and after all her preparations, she did not want anything to spill or squish.Imelda had been looking forward to this picnic all summer long. Every year,Imelda and her Uncle Juan planned a picnic for the last day of summervacation. It was their very own special tradition, and Imelda was alwaysexcited when “Picnic Day” finally arrived. She smiled as she pictured theneatly arranged sandwiches and shiny apples inside the basket. She did noteven have to lift the lid to take a peek because she knew that their feast was inplace. After all, she had checked everything three times! She had evenrearranged the pretzels so that the juice boxes would not crush them, and shehad remembered to bring napkins this year. The pretty picnic blanket was onthe back seat. Next to it sat a yellow Frisbee with a smiley face on the top.Imelda reached back and grabbed the Frisbee, holding it in front of her face sothat it was now smiling at her. Imelda grinned back at the smiling face.

2 As they pulled into anempty parking space,Imelda suddenly realizedthat something was verystrange. All the parkingspots were empty. Infact, no one was in theentire park except for asingle jogger who hadstopped to tie hisshoelace. He looked upfrom his shoe at Imeldaand her uncle as theygot out of the car andfurrowed his brow at thesight of them holding allof their picnic supplies.

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3 “Why is the park so empty?” asked Imelda, eyes wide with curiosity. But as shestepped onto the green park grass, the answer immediately became obvious.Imelda looked down to see her once-white sneakers covered with mud. It hadrained heavily the day before and the park was a muddy mess. Lookingaround, they could see puddles underneath the swings and leftover raindropson the slide. Imelda looked up at her uncle as she tried to hold back her tears.She had planned everything so carefully, but she had not planned for this!

4 “Don’t look so sad, Imelda,” her uncle said as he tossed the picnic blanketover his shoulder.

5 “But our picnic is ruined!” Imelda cried, no longer trying to hide herdisappointment.

6 She imagined her peanut butter sandwiches waiting to be unwrapped andeaten. She thought of the beautiful red apples she had chosen so carefully. Shelooked at the smiling Frisbee in her hand, but this time she did not smileback. With her head down so that her long brown hair hid her face, Imeldaran back to the car. When Uncle Juan opened the driver side door, Imeldaalready had her seatbelt on. The Frisbee was face down on the floor, so shecouldn’t see the smile.

7 “Giving up on our picnic so easily?” Uncle Juan asked with a grin.

8 “How can we have a picnic now?” Imelda complained. “The ground is toomuddy to even walk in the park, so there’s no way we could have a picnicthere.”

9 Imelda glared up at the clear blue sky as if it had been purposefully trying totrick her. She had been so relieved to wake up to a cloudless sky. The rain from the day before seemed a distant memory, and Imelda thought for surethat her perfect picnic would go as planned. Now she knew that she had beenvery wrong.

10 “Well, I wrote on my calendar a long time ago that today was our picnic day,and I certainly don’t want those delicious sandwiches you made to go towaste!” Uncle Juan said. “I simply refuse to let a little mud ruin my day.”

11 “But it already has,” Imelda whispered to herself.

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12 Imelda pressed her nose against the cold glass of her car window as UncleJuan’s station wagon continued along the road. She was lost in her thoughtsof how great the picnic could have been when Uncle Juan’s station wagoncame to a stop. She looked out the window to see where they were and wassurprised to see Uncle Juan’s apartment building. Before Imelda could ask anyquestions, Uncle Juan took the picnic basket and started heading inside. “Ihave to make a few important phone calls before we go have our picnic,” heexplained as he looked back at Imelda. She followed slowly, once again tryingto hide her disappointment.

13 When they reached the third floor, Imelda’s eyes lit up briefly as she wasgreeted at the apartment door by Uncle Juan’s dog Lucky. “Why don’t you andLucky go watch some television?” Uncle Juan suggested as he headed into hiskitchen with his cell phone.

14 Lucky ran down the small hallway to the living room with Imelda trailingbehind him. Lucky brought Imelda his tennis ball for her to throw. Eventhough Imelda threw the ball without any enthusiasm at all, Lucky still had agreat time chasing it down and promptly returning it. Imelda pondered howstrange it was that the dog didn’t seem to mind that he was playing ball in acramped apartment instead of a huge park. Lucky kept bringing her the ballover and over again, and soon Imelda had lost track of time.

15 “Imelda, I’ve finished making my phone calls,” Uncle Juan called. “Are youready for a picnic?”

16 Imelda walked down the hall, with Lucky right at her heels. When she got tothe kitchen she could not believe her eyes. There, on the tile floor, was themost beautiful picnic she had ever seen. The round kitchen table had beenpushed aside to make room for the big picnic blanket on the floor. Arrangedjust the way she had imagined were all the sandwiches, apples, pretzels, andpaper plates. Everything that she had packed in the basket that morning wason the blanket. The two juice boxes, ready to be sipped, marked the places forUncle Juan and Imelda to sit.

17 She looked at her uncle in amazement and said, “You weren’t making phonecalls!”

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18 “But I did have some important work to do, didn’t I?” Uncle Juan grinned.

19 All of Uncle Juan’s houseplants had been moved into the kitchen and placedaround the blanket. The sunlight streaming through the green curtainsreminded Imelda of sitting in the shade of a tree. Taking a seat on the floor,Imelda looked over at her uncle. “Thank you!” she said, as she reached for thepaper plates. As she did, she noticed that the Frisbee was propped up againstone of the flowerpots. She grabbed it and turned it around so the smiling facewas looking right at the center of their picnic.

20 As they tucked into their delicious meal, Imelda remembered why she hadalways looked forward to their picnic tradition so much. It had very little todo with where she was, and everything to do with whom she was with.

21 “Thank you for making this the most perfect picnic ever,” she said to UncleJuan. “It’s even better than last year because we don’t even have to worryabout ants!”

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15 Which of these is a main problem of both Saidi and Imelda?

A They both react badly to change.

B They both always expect the worst.

C They both spend too much time planning.

D They both cannot make decisions.

16 A main idea in both passages is about the importance of having —

A a positive attitude

B a backup plan

C a favorite hobby

D a supportive family

17 Which statement best compares the main character flaws of Imelda and Saidi?

A Imelda relies on others too much, while Saidi does not trust others enough.

B Imelda is too moody, while Saidi is too unemotional.

C Imelda gives up too easily, while Saidi hardly tries at all.

D Imelda has too much confidence, while Saidi lacks confidence.

18 Based on what “The Perfect Picnic” shows about Uncle Juan, what advicewould he most likely give Saidi?

A Just make the most of everything and see what happens.

B Tell other people your problems and let them help you.

C Be open to learning about new things.

D Do not be afraid of making mistakes.

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19 Both Saidi and Imelda have bad moods. Compare the causes of their badmoods and explain what this suggests about who has the most seriousproblem. Use details from both passages to support your answer.

20 Describe how the author of “Taking a Swing” uses baseball as a symbol andhow the author of “The Perfect Picnic” uses the Frisbee as a symbol. Usedetails from both passages to support your answer.

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21 Describe how Saidi’s and Imelda’s feelings change over time. Describe themain lesson that Saidi and Imelda learn. Use details from both passages tosupport your answer.

In your response, be sure to• describe how Saidi feels at the start of the passage and how her feelings

change during the passage• describe how Imelda feels at the start of the passage and how her feelings

change during the passage• describe the main lesson that Saidi and Imelda learn• use details from both passages to support your answer

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/ James Michener \1 James Albert Michener published more than 40 books and several other

articles and historical writings. Most of his books are novels that focus oninteresting places across the globe, such as Hawaii, Israel, and Alaska. Manyreaders use Michener’s books as in-depth travel guides when visiting the placesabout which he has written. Michener’s writings could be described ashistorical fiction, which is a type of writing in which the characters arefictional but the setting and cultural details are based on real history.

2 Raised in Bucks County, Pennsylvania, Michener’s childhood was marked bypoverty. He was raised by a woman named Mabel who took in foster children,and he had no memory of his parents. Though the children Mabel raised hadhardly any luxuries, she always made sure they had books and a goodeducation. Michener remembers that Mabel liked to read novels written byCharles Dickens to the children.

3 When he was old enough, he left his home in Pennsylvania and traveledacross the United States. He left with just a few dollars to his name and noparticular plans of where to go. The next few years were filled with adventuresas he traveled from place to place all across America. One of the best things herecalls about these times was the wide range of interesting people he met. Hemet people from all walks of life. There were some he met briefly as theyoffered him a ride, others he met for a slightly longer time as they offered hima roof over his head and a warm meal, and others he worked with as he tookon a range of odd jobs. These experiences awakened a curiosity about peoplethat would stay with him all through his life. They also taught him a lot aboutthe many different places within America. Michener traveled so much that bythe time he was just 20, he had traveled to all but three states. Later, he wouldsay the variety of these experiences and the lessons he learned paved the wayfor his exciting career as a writer and traveler.

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4 While traveling freely was a good option for a few years, he realized that hewould have to do the responsible thing and settle down. Michener was a goodstudent and attended college, where he studied English and psychology. Aftergraduating from college, he became an English teacher and taught for severalyears in different schools across Pennsylvania. He continued his studies byattending Colorado State Teachers College, where he earned a master’s degree,and then became a teacher at the college. This was followed by a year ofteaching at Harvard University. He then moved on to a new area and becamean editor at a major publishing house.

5 Although it might seem like Michener had done enough, his working life wasjust getting started. His life took another turn when he joined the United StatesNavy. During World War II, his role in the Navy was as a naval historian. Hewas assigned to the South Pacific, where his main responsibility was todocument the history and culture of places in the South Pacific. While in theSouth Pacific, he kept several notebooks and journals of his experiences there.These notebooks and journals were kept for his own purposes and were separatefrom his work. At this point, he had no particular purpose for keeping them anddid not have any intention to write a book. He simply felt it was important torecord his own experiences and reflections of the new places he was seeing.Though he did not consciously decide to be a writer, Michener knew that hewas capable and thought he might try writing when he returned home.

6 Michener met many extraordinary people while he was in the service.According to Michener, the men with whom he served discussed what theywanted to do with their lives after the war. They all decided that they wanted tobe great men, though each person’s specific ideas of what that meant differed.At one point during his time in the South Pacific, Michener had a brush withdeath when a plane he was in just managed to avoid crashing. This was aturning point in Michener’s life. In the moments after the near miss, he decidedthat he wanted to do something great with his life. The idea of writing abouthis time in the South Pacific became a more serious one, and he became moredetermined to share his experiences by writing about them.

7 After the war, he completed his first book. It was a collection of related storiesbased on his experiences in the war, and he called it Tales of the South Pacific.In the book, Michener made use of the large amount of knowledge he hadgathered during the war. Michener sent the manuscript to the publisher where

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he once worked as an editor, but without revealing that he was the author.Tales of the South Pacific was published and went on to win the Pulitzer Prizefor Literature in 1948. The book was adapted into a Broadway musical and amovie called South Pacific.

8 Michener went on to write many other successful novels. Michener had asystem of visiting foreign locations, studying them and keeping detailed notes,and then writing about the places. He traveled all over the world, visiting eachcontinent, and usually remained in each place long enough to learn thelocation’s culture deeply. He would then use the information to draftsuspenseful stories in which the setting played a starring role. These storieswere fictional, but they incorporated the real history and cultures of the placethey were set. They were often epic novels that detailed events occurring overcenturies. The novel Hawaii is a good example of this. Its story begins with thecreation of the islands and the arrival of the first inhabitants, and continues onto more recent events including when Hawaii became an American state. Eventhough the novel is fiction, the details of the novel are historically accurate.

9 Aside from writing, Michener became involved with several political projects.He attempted to run for Congress in 1968. While he lost the election, hebecame more involved in politics as a result. When Pennsylvania decided torewrite its state constitution, Michener was named one of the leaders of theproject. He later held positions with NASA and the U.S. Postal Service.

10 Michener’s books became very popular and earned him quite a bit of money.His work was widely translated and sold well in many countries. Michenergave most of those profits to charities such as libraries, schools, and museums,and he established a program for writers at the University of Texas.

11 Throughout his life, what he was most was a storyteller. Michener explained, “Ibelieve throughout history, through all of history, way back to the most earlydays of the human race, when people gathered around the fireplace at night,they wanted to remember what had happened and reflect upon the big eventsof that day and reassess values and maybe get new dedication to the next day.Well, I’m one of the guys who sat around the fireplace and did the talking.”

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/ Reproducing the Past \1 Bailey Morgan and Ty Prince, authors of Hammers to Henry VIII, began

brainstorming content for their historical novel after watching a televisionprogram featuring the Globe Theatre. The Globe Theatre was the famousElizabethan performance site of the plays of William Shakespeare. It was builtin 1599, destroyed by fire in 1613, and then rebuilt in 1614. Knowing just alittle of the history of the theater, Morgan and Prince began to believe that itcould be the basis for a great novel. They researched the theater to find outmore, and gradually their story came together. What they found out gavethem the pieces for a fascinating series of events to base their novel on.Wanting their story to be true to the real history of the theater, theycontinued to research it thoroughly.

2 As their story developed, they found themselves immersed in an extraordinaryworld that was part fiction and part history. It was like they were entering theworld of the past that would become the setting of their novel. They soonfound that there would be no shortcuts.

3 “Writing this book was so time consuming that it quickly took over our entirelives,” reported Morgan. “The sheer volume of research alone made us readjustall of the expectations we had coming into the project.”

4 “We knew that for our book to be great, it would also need to be accurate. Thehistorical events are so crucial to the work that we had to find out all therewas to be known about it,” Prince explained.

5 Hammers to Henry VIII tells the story of the construction of the Globe Theatrethrough both factual and fictional characters. The book begins in 1597 in thearea of Shoreditch in London. This was the site of the theater. It was a venueoriginally built by famous Elizabethan theatrical figure James Burbage. It waslater taken over by his actor sons, Richard and Cuthbert. The Globe Theatrewas actually owned by an acting troupe known as Lord Chamberlain’s Men.The two Burbage brothers were the main shareholders and together owned50% of the shares. The remaining shares were owned by actors and playwrightsassociated with the theater. This included the now famous playwright WilliamShakespeare, who owned 12.5% of it. True to history, the novel tells how the

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Burbage brothers become involved in a dispute with their landlord when thetheater’s 21-year lease expires. Unfortunately, while the Globe Theatre wasfully owned by the Lord Chamberlain’s Men, the land on which it was builtwas not. The land was leased from Giles Allen, making him the theater’slandlord. In the novel, just as in real life, Giles Allen inflates their rent in anattempt to chase them off the property and tear down the theater. As GilesAllen knows, the Lord Chamberlain’s Men cannot afford the excessive sum.The Burbage brothers refuse to pay the high rent. Giles Allen claims that ifthey do not pay, then he has the right to knock the theater down. TheBurbage brothers refuse to let the matter go. Their own father built the theaterat his own expense, and they will not simply give it away and see it bedestroyed. Upon reviewing the original lease, however, Cuthbert comes upwith a cunning solution. He discovers a clause that would allow them toremove the theater from the land. When Giles Allen takes a trip out of town,the Lord Chamberlain’s Men take the theater apart piece by piece. They firsttake it down to the edge of the Thames River, and then later ferry it across theThames River. There, it is rebuilt and becomes the new Globe Theatre.

6 The telling of the story in the novel is meaningful, emotional, and hilarious. Itis hard not to laugh at the events that occur as the theater is shifted to its newlocation. At the same time, you have to admire the Burbage brothers forcoming up with the solution and for carrying it out. The true historical eventscertainly gave the writers plenty to work with. It is a tribute to them that theydeveloped the story into something accurate, meaningful, and entertaining.

7 “All of the pieces for the story were already there,” said Prince. “Our job wasto make sure that the historical details were accurate. That’s where we spentmost of our energy.”

8 “It’s true,” agreed Morgan. “We hung a piece of poster board in our office andcharted the historical events in one color and the fictional events in another.That really helped us plan our story, but it took a long time.”

9 After the story had a structure, the duo sought the services of editor Molly Gold.

10 “Molly really helped us take the story to the next level,” said Morgan. “We areso grateful to her. She was extremely careful with the story and ended upmaking it so much better in the end.”

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11 “The hardest part was the fact checking,” Gold admitted. “The novel is full ofhistorical facts, and though a good portion of the story is fictional, I wanted tomake sure that nothing slipped through the cracks. The authenticity of thestory makes it that much more enjoyable.”

12 Fictional aspects of the book include some of the characters, such as the workcrew who constructed the new theater from the pieces of the old, as well asthe townspeople who come to see the first play at the new theater.

13 “We really fell in love with some of our purely fictional characters,” saidPrince. “My favorite is Peter Trout. He’s a carpenter, but he can barely swing ahammer and is so clumsy that you can’t help but love him.”

14 “There’s a lot of comedy in the novel,” added Morgan. “We thought that theidea of an acting troupe disassembling a theater and moving it across a riverwas so funny that we had to ‘play it up,’ so to speak. We got really close to allof our characters as we wrote them to life, and our research unveiled somereally interesting historical tidbits. For instance, we found out that after thetroupe moved the theater, Giles Allen brought a lawsuit against them. GilesAllen lost the case, which made it a double win for the Burbage brothers. We thought that was great.”

15 “Even though the true historical events in the book already happened, wewere really pulling for these guys to make it work. The troupe had some greatperformances there. They were so great, in fact, that the theater will beremembered forever. The theater’s history is actually quite dramatic, completewith a tragic end,” said Prince.

16 He is referring to the accidental burning of the original Globe Theatre during aperformance of Shakespeare’s Henry VIII in 1613.

17 “But it’s also nice to know that the theater was rebuilt,” Prince said.

18 “That’s how important it was to people,” added Morgan. “It persevered againstall odds, and that’s why we wanted to celebrate its story. This novel is thestory of the Globe Theatre and its incredible history.”

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22 How is the passage “James Michener” different from the passage “Reproducing the Past”?

A It describes one person’s life instead of focusing only on one work.

B It explains why a work of literature became successful.

C It tells the story of an author in his own words.

D It includes factual historical data.

23 Which statement made by an author of Hammers to Henry VIII also describesthe work of James Michener?

A “Writing this book was so time consuming that it quickly took over our entirelives,” reported Morgan.

B “The historical events are so crucial to the work that we had to find out all there was to be known about it,” Prince explained.

C “We really fell in love with some of our purely fictional characters,” said Prince.

D “There’s a lot of comedy in the novel,” added Morgan.

24 How is the novel Hawaii different from the novel Hammers to Henry VIII?

A It contains more fictional content.

B It has a humorous tone.

C It is set over a longer period of time.

D It is focused on one character.

25 Which key element of Hammers to Henry VIII is also a key element in Tales ofthe South Pacific?

A The win of the heroes over a villain

B The description of a humorous real-life event

C The influence of a famous historical figure

D The importance of the setting

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26 Compare and contrast the purpose of the quotes in “James Michener” and “Reproducing the Past.” Use details from both passages to support your answer.

27 Describe how James Michener and the authors of Hammers to Henry VIIIcombine fact and fiction in their works. Use details from both passages tosupport your answer.

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28 Think about how writing a work of historical fiction would be different fromwriting regular fiction. Describe the unique challenges that writers of historicalfiction face. Explain why writing historical fiction requires hard work. Usedetails from both passages to support your answer.

In your response, be sure to• describe the unique challenges that writers of historical fiction face• explain why writing historical fiction requires hard work• use details from both passages to support your answer

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/ Daydream Man \1 A grandfather on a park bench,

wears the clothes of history,stares through bars of sunlightat his grandson on the swing.

2 You have felt the rush of movies,when suddenly, instead of a theater,you’re in Hollywood, Africa, orwherever you dream.

3 Such is the manner of this man.He leans into memories. Mental photos flip so fast,they’re like moving pictures.Some are hazy, some forgotten, and some are clear as day.

4 He’s the little boy of his stories,as his smile sneaks in between wrinkles.His grandson acts out each passage through timeas he swings up, up, up, and away.

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/ Morals and Memory \Adapted from a Speech by Samuel Clemens

1 There’s a bird out in California that is one perfect symbol of the humanmemory. I’ve forgotten the bird’s name. But this fool of a creature goes aroundcollecting the most ridiculous things you can imagine and storing them up.He never selects a thing that could ever prove of the slightest help to him. He goes about gathering iron forks, and spoons, and tin cans, and brokenmousetraps—all sorts of rubbish that is difficult for him to carry and yet willnot be any use whatsoever when he gets it. Why, that bird will go by a goldwatch to bring back one of those cheap old cake pans.

2 Now, my mind is just like that, and my mind isn’t very different from yours,and so our minds are just like that bird. We pass by what would be ofinestimable value to us, and pack our memories with the most trivial odds andends that never by any chance, under any circumstances whatsoever, could beof the slightest use to anyone.

3 Now, things that I have remembered are constantly popping into my head.And I am repeatedly startled by the vividness with which they recur to meafter the lapse of years and their utter uselessness in being remembered at all.

4 I’ve come to the conclusion, curious though it is, that I can use every one ofthese freaks of memory to teach you all a lesson. I’m convinced that each onehas its moral. And I think it’s my duty to hand the moral on to you.

5 Now, I recall that when I was a boy I was a good boy. I was a very good boy.Why, I was the best boy in my school. I was the best boy in that littleMississippi town where I lived. The population was only about twenty million.You may not believe it, but I was the best boy in that state, and in the UnitedStates, for that matter.

6 But I don’t know why I never heard anyone say that but myself. I alwaysrecognized it. But even those nearest and dearest to me couldn’t seem to see it.My mother, especially, seemed to think there was something wrong with thatestimate. And she never got over that prejudice.

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7 Now, when my mother got to be eighty-five years old her memory failed her.She forgot little threads that hold life’s patches of meaning together. She wasliving out West then, and I went on to visit her.

8 I hadn’t seen my mother in a year or so. And when I got there she knew myface, knew I was married, knew I had a family, and that I was living withthem. But she couldn’t, for the life of her, tell my name or who I was. So I toldher I was her boy.

9 “But you don’t live with me,” she said.

10 “No,” said I, “I’m living in Rochester.”

11 “What are you doing there?”

12 “Going to school.”

13 “Large school?”

14 “Very large.”

15 “All boys?”

16 “All boys.”

17 “And how do you stand?” said my mother.

18 “I’m the best boy in that school,” I answered.

19 “Well,” said my mother, with a return of her old fire, “I’d like to know whatthe other boys are like.”

20 Now, one point in this story is the fact that my mother’s mind went back tomy school days, and remembered my little youthful self-prejudice when she’dforgotten everything else about me.

21 The other point is the moral. There’s one there that you will find if you searchfor it.

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22 Now, here’s something else I remember. It’s about the first time I ever stole awatermelon. “Stole” is a strong word. Stole? Stole? No, I don’t mean that. Itwas the first time I ever withdrew a watermelon. It was the first time I everextracted a watermelon. That is exactly the word I want—“extracted.” It isdefinite. It is precise. It perfectly conveys my idea. Its use in dentistryconnotes the delicate shade of meaning I am looking for. You know we neverextract our own teeth.

23 And it was not my watermelon that I extracted. I extracted that watermelonfrom a farmer’s wagon while he was inside negotiating with another customer.I carried that watermelon to one of the secluded recesses of the lumber-yard,and there I broke it open.

24 It was a green watermelon.

25 Well, do you know when I saw that I began to feel sorry. It seemed to me that I had done wrong. I reflected deeply. I reflected that I was young. I think I was just eleven. But I knew that, though immature, I did not lack moraladvancement. I knew what a boy ought to do who had extracted a watermelon.

26 I considered George Washington, and what action he would have taken undersimilar circumstances. Then I knew there was just one thing to make me feelright inside, and that was restitution. So I said to myself: “I will do that. I willtake that green watermelon back where I got it from.” And the minute I hadsaid it I felt that great moral uplift that comes to you when you’ve made anoble resolution.

27 So I gathered up the biggest fragments, and I carried them back to the farmer’swagon, and I restored the watermelon—what was left of it. And I made himgive me a good one in place of it, too.

28 And I told him he ought to be ashamed of himself going around working offhis worthless, old, green watermelons on trusting purchasers who had to relyon him. How could they tell from the outside whether the melons were goodor not? That was his business. And if he didn’t reform, I told him I’d see thathe didn’t get any more of my trade nor anybody else’s I knew, if I could help it.

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29 He said he was all broken up to think I’d gotten a green watermelon. Hepromised that he would never carry another green watermelon. And he droveoff a better man.

30 Now, do you see what I did for that man? He was on a downward path, and I rescued him. But all I got out of it was a watermelon.

31 Yet I’d rather have that memory, just that memory of the good I did for thatdepraved farmer, than all the material gain you can think of. Look at thelesson he got! I never got anything like that from it. But I ought to besatisfied. I was only eleven years old, but I secured everlasting benefit to other people.

32 The moral in this is perfectly clear, and I think there’s one in every memorythe mind chooses to keep.

33 I trust that you will carry away some good thought from these lessons I havegiven you, and that the memory of them will inspire you to higher things,and elevate you to plans far above the old.

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29 Which line from the poem describes the same feature of memories as thebower bird is used as a symbol of in paragraph 1 of the speech?

A You have felt the rush of movies,

B He leans into memories. Mental photos flip so fast,

C Some are hazy, some forgotten, and some are clear as day.

D He’s the little boy of his stories,

30 Which idea from the speech does the second stanza of the poem describe?

A How memories transport you back to different times

B How people usually only remember good times

C How memories can be confusing

D How people share memories with others

31 Compared to the speech, the tone of the poem is more —

A straightforward

B sentimental

C humorous

D hopeful

32 In the speech, a memory of taking a watermelon is described. Thegrandfather’s memories as he watches his grandson would most likely besimilar to this because they would be memories of —

A being young and carefree

B taking something that is not yours

C standing up for what is right

D learning that things are not what they seem

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33 Compare the relationship between the mother and son described in thespeech and the grandfather and grandson described in the poem. Use detailsfrom both passages to support your answer.

34 Unlike the detailed memories in the speech, the grandfather’s memories arevague. Explain whether or not the poem’s meaning would be clearer if thegrandfather’s memories were described in more detail. Use details from bothpassages to support your answer.

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35 The speech has a first person point of view, while the poem has a third personpoint of view. Describe the effect of the point of view in the speech and thepoem. Explain which point of view you feel best allows readers to connect withthe main character. Use details from both passages to support your answer.

In your response, be sure to• describe the effect of the point of view in the speech• describe the effect of the point of view in the poem• explain which passage best allows readers to connect with the main character• use details from both passages to support your answer

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www.rallyeducation.com22 Railroad Avenue, Glen Head, NY 11545

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Applying the TEKS for the STAAR—Understanding Complex Reading: Literature &Informational Text by Theme teaches students how to understand, analyze, and evaluatecomplex passages while focusing on theme. Students will learn how to use close reading tointerpret passages, and will develop the necessary critical thinking skills to answer rigorousquestions about the passages.

The book is divided into five parts:

Understanding How to Read Complex PassagesInformation and Guidance on Understanding, Analyzing, and Comparing Complex Passages

How to Identify a ThemeInformation and Guidance on Understanding and Identifying Themes in Complex Passages

GlossaryDefinitions of the Key Terms Needed to Analyze Complex Passages by Theme

Instruction One Single Passage and Two Sets of Passages Connected by a Theme with BackgroundInformation and Instruction

Independent PracticeTwo Single Passages and Three Sets of Passages Connected by a Theme for Students toComplete on Their Own

Documents

Understanding Complex Text