035 050 pacing g12 ca - glencoe · eek 17 speaking, listening, iewing r kshop: oral response to...

Pacing 35

PacingGlencoe Literature: California Treasures offers two curriculum options:

• • a 180-day course of study, which covers all the literature selections in the Student Edition

• • an Essential Course of Study, which enables you to teach the standards in a time-effective manner

This section shows you when to teach which selections, and which standards you will cover. It is divided into these parts:

• • California Treasures Student Edition

• • California Treasures Essential Course of Study

• • Weekly Pacing

PACINGCACA

38 California Treasures Standards Road Map

California Treasures

Essential Course of Study

By teaching the Glencoe Literature: California Treasures—

British

Literature Essential Course of Study in the order below, yo

u can cover the

standards in the first 150 days of the year, ensuring that stud

ents will be

prepared for school, state, or district-wide tests. The calenda

r shows how to

use the Essential Course of Study as the backbone of your in

struction, while

still having time to teach additional selections throughout t

he year.

Pacing Calendar: 150 Days Before Test/180 Days o

f the Year

September October November

December January

Week 1from Beowulf

Week 5Speaking, Listening,

and Viewing

Workshop: Photo Essay

On Monsieur’s

Departure AND Speech

to the Troops at Tilbury


and Viewing

Workshop: Multimedia

Presentation

A Modest Proposal

Week 13Writing Workshop:

Reflective Essay


and Viewing

Workshop: Oral

Response to Literature

Week 2from The Pardoner’s

Tale

Week 6Sonnet 73 AND

Sonnet 29

Week 10Letter to Her Daughter

Writing Workshop:

Persuasive Essay


and Viewing

Workshop: Reflective

Presentation

Week 18Sailing to Byzantium

AND The Second

Coming

Week 3from Sir Gawain and

the Green Knight

Week 7The Tragedy of

Macbeth, Act 1,

Scenes 1–2

Eve’s Apology from

Salve Deux Rex

Judaeorum


and Viewing

Workshop: Persuasive

Speech

Week 15TIME: What is Love?

Jabberwocky

Week 19Preludes


Biographical Narrative

Week 8Meditation 17

Writing Workshop:

Historical Investigation

Report

Week 12Elegy Written in a

Country Churchyard

from A Vindication of

the Rights of Woman

Lines Composed a

Few Miles Above

Tintern Abbey


Response to Literature

Week 20from A Room of One’s

Own

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Pacing 39

The authentic text of each Essential Course of Study select

ion can be

found along with extra reading support in the Read and Wri

te practice

books—leveled consumable worktexts for English Learners,

On-Level, and

Approaching students.

February MarchApril May

Week 21Be Ye Men of Valor

Week 25A Mild Attack of

Locusts

Week 29The Passionate

Shepherd to His Love

Week 33Ode on a Grecian Urn


Short Story


Critical Review

Week 30from The Diary of

Samuel Pepys

Week 34Dover Beach AND

To an Athlete Dying

Young

Week 23Speaking,

Listening, and

Viewing Workshop:

Performance of a

Short Story


and Viewing

Workshop: Deliver a

Critical Review

Week 31from The Journals of

Dorothy Wordsworth

Week 35Dover Beach AND

To an Athlete Dying

Young, continued

Week 24Comparing Literature:

Shall We Choose

Death? AND The

Tribe with Its Eyes on

the Sky AND Political

Science

Week 28Media Workshop:

Analyze Media

Messages

Week 32from The Journals of

Dorothy Wordsworth,

continued

Week 36Two Sheep

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Week 1from BeowulfComparing Literature: The Death of Humbaba from Gilgamesh AND from The Battle of the Pelennor Fields from The Lord of the Rings: The Return of the King AND from The Collected Beowulf

Unit IntroductionLiterary Periods: The Epic and the Epic Hero

Reading 3.7.c, Reading 2.2, Reading 2.3, Reading 3.7.a, Reading 1.1, Reading 3.6, Reading 3.7.bWriting 2.2.a

Week 2 TIME: A Brief History of HeroesThe Seafarerfrom The EcclesiasticalHistory of the English People

Vocabulary Workshop: Academic VocabularyVocabulary Workshop: Word Origins and Word PartsGrammar Workshop: Sentence Combining

Reading 1.2, Reading 2.1, Reading 3.2, Reading 3.3, Reading 3.1Writing 1.3, Writing 2.3.aLanguage Conventions 1.1

Week 3 from The Canterbury Tales Literary Periods: The Development of English Reading 3.7.a, Reading 3.9, Reading 3.3Writing 1.1, Writing 2.1.c, Writing 1.5, Writing 2.2.dWeek 4 TIME: The Roads Now Taken

from The Book of Margery Kempefrom Sir Gawain and the Green Knight

Grammar Workshop: Verb Tense Reading 2.0, Reading 2.2, Reading 3.6Writing 1.7, Writing 1.5, Writing 2.1Language Conventions 1.1

UNIT ONEUNIT ONE

California Treasures Student EditionSelections Features and Workshops Content StandardsCACA

Weekly PacingGlencoe Literature: California Treasures—British Literature comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Student Edition covers the standards in 180 days.

How do I cover the standards in the 180/150 days of the year?

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Pacing 41

Week 5 Historical Perspective: from A Distant Mirrorfrom Le Morte d’ArthurBonny Barbara Allan AND Get Up and Bar the Door

Vocabulary Workshop: Context Clues Literary Periods: The Ballad Tradition

Reading 2.0, Reading 3.1, Reading 2.2, Reading 3.7Writing 1.7, Writing 2.1.e

Week 6Writing Workshop: Biographical Narrative Speaking, Listening, and Viewing Workshop: Photo Essay

Writing 2.1, Writing 1.2Listening and Speaking 1.10

Assessment: California Standards Practice

Selections Features and Workshops Content StandardsCACACACA

Week 7On Monsieur’s Departure AND Speech to the Troops at TilburyWhoso List to HuntSonnet 30 AND Sonnet 75Sonnet 31The Passionate Shepherd to His LoveThe Nymph’s Reply to the ShepherdOf Studies

Unit IntroductionLiterary Periods: The Development of the SonnetVocabulary Workshop: Dictionary Use

Reading 3.7.a, Reading 2.2, Reading 2.3, Reading 3.1, Reading 3.3, Reading 1.1, Reading 3.4Writing 1.7, Writing 1.5, Writing 2.1, Writing 2.2.d

Week 8 Sonnet 116 AND Sonnet 130Sonnet 73 AND Sonnet 29Fear No More the Heat o’ the Sun AND Blow, Blow, Thou Winter Wind To be, or not to be from Hamlet AND All the world’s a stage from As You Like It AND Our revels now are ended from The Tempest

Grammar Workshop: Subject-Verb Agreement

Reading 3.1, Reading 3.4,Reading 2.4, Reading 3.2, Reading 3.3, Reading 2.2Writing 2.1, Writing 2.3.b, Writing 2.3

Week 9 The Tragedy of Macbeth, Acts 1–3 Literary Periods:Shakespeare’s Theater

Reading 2.0, Reading 3.3, Reading 3.9Writing 2.4, Writing 2.2.a, Writing 2.1Week 10 The Tragedy of Macbeth, Acts 4–5

Visual Perspective: Throne of Blood from Shakespeare on ScreenTIME: Midsummer Night’sSpectacle

Reading 2.2, Reading 3.1, Reading 2.0, Reading 2.4Writing 2.1.c, Writing 1.3, Writing 2.2.a

UNIT TWOUNIT TWO


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How can I pace instruction to meet all my students’ needs?

First Proof Second Proof Third Proof PDF Proof

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California Treasures Student EditionGlencoe Literature: California Treasures—British Literature is divided into seven units. Each unit is divided into parts. Each unit includes an in-depth Writing Workshop; a Speaking, Listening, and Viewing Workshop; and an Assessment section modeled after standardized tests. The calendar below shows how to pace your instruction in order to teach the seven units in the 180 days of the school year.

Pacing Calendar: 180 Days

September October November December January

Week 1Part 1

Week 5 Week 9Week 13Part 1

Week 17

Week 2Part 2

Week 6 Week 10 Week 14Part 2 Week 18

Part 1

Week 3Week 7Part 1

Week 11Part 3

Week 15 Week 19Part 2

Week 4Part 3

Week 8Part 2

Week 12 Week 16 Week 20

UNIT ONEUNIT ONE UNIT THREEUNIT THREE

UNIT FOURUNIT FOUR

UNIT TWOUNIT TWO



Pacing 37

As you follow the calendars on these pages, several options are available for formative and summative assessment. See the Assessment section of this guide for more information.

February March April May

Week 21Part 3

Week 25Part 2

Week 29Part 2 Week 33

Part 1

Week 22 Week 26 Week 30Part 3

Week 34Part 2

Week 23 Week 27 Week 31 Week 35

Week 24Part 1

Week 28Part 1

Week 32 Week 36

UNIT SEVENUNIT SEVEN

UNIT F IVEUNIT F IVE UNIT SIXUNIT SIX

What do I teach for the 180/150 days of the year?



PACINGCACA


California Treasures Essential Course of StudyBy teaching the Glencoe Literature: California Treasures—British Literature Essential Course of Study in the order below, you can cover the standards in the first 150 days of the year, ensuring that students will be prepared for school, state, or district-wide tests. The calendar shows how to use the Essential Course of Study as the backbone of your instruction, while still having time to teach additional selections throughout the year.

Pacing Calendar: 150 Days Before Test/180 Days of the Year

September October November December January

Week 1from Beowulf

Week 5Speaking, Listening, and Viewing Workshop: Photo Essay

On Monsieur’s Departure AND Speech to the Troops at Tilbury

Week 9Speaking, Listening, and Viewing Workshop: Multimedia Presentation

A Modest Proposal

Week 13Writing Workshop: Reflective Essay

Week 17Speaking, Listening, and Viewing Workshop: Oral Response to Literature

Week 2from The Pardoner’s Tale

Week 6Sonnet 73 AND Sonnet 29

Week 10Letter to Her Daughter

Writing Workshop: Persuasive Essay

Week 14Speaking, Listening, and Viewing Workshop: Reflective Presentation

Week 18Sailing to Byzantium AND The Second Coming

Week 3from Sir Gawain and the Green Knight

Week 7The Tragedy of Macbeth, Act 1, Scenes 1–2

Eve’s Apology from Salve Deux Rex Judaeorum

Week 11Speaking, Listening, and Viewing Workshop: Persuasive Speech

Week 15TIME: What is Love?

Jabberwocky

Week 19Preludes

Week 4Writing Workshop: Biographical Narrative

Week 8Meditation 17

Writing Workshop: Historical Investigation Report

Week 12Elegy Written in a Country Churchyard

from A Vindication of the Rights of Woman

Lines Composed a Few Miles Above Tintern Abbey

Week 16Writing Workshop: Response to Literature

Week 20from A Room of One’s Own



Pacing 39

The authentic text of each Essential Course of Study selection can be found along with extra reading support in the Read and Write practice books—leveled consumable worktexts for English Learners, On-Level, and Approaching students.

February March April May

Week 21Be Ye Men of Valor

Week 25A Mild Attack of Locusts

Week 29The Passionate Shepherd to His Love

Week 33Ode on a Grecian Urn

Week 22Writing Workshop: Short Story

Week 26Writing Workshop: Critical Review

Week 30from The Diary of Samuel Pepys

Week 34Dover Beach

Week 23Speaking, Listening, and Viewing Workshop: Performance of a Short Story

Week 27Speaking, Listening, and Viewing Workshop: Deliver a Critical Review

Week 31from The Journals of Dorothy Wordsworth

Week 35Dover Beach, continued AND To an Athlete Dying Young

Week 24Comparing Literature: Shall We Choose Death? AND The Tribe with Its Eyes on the Sky AND Political Science

Week 28Media Workshop: Analyze Media Messages

Week 32from The Journals of Dorothy Wordsworth, continued

Week 36To an Athlete Dying Young, continued

Revised


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PACINGCACA


Week 1from Beowulf

Comparing Literature: The Death of Humbaba from Gilgamesh AND from The Battle of the Pelennor Fields from The Lord of the Rings: The Return of the King AND from The Collected Beowulf

Unit Introduction

Literary Periods: The Epic and the Epic Hero

Reading 3.7.c, Reading 2.2, Reading 2.3, Reading 3.7.a, Reading 1.1, Reading 3.6, Reading 3.7.b

Writing 2.2.a

Week 2 TIME: A Brief History of HeroesThe Seafarer

from The Ecclesiastical

History of the English People

Vocabulary Workshop: Academic Vocabulary

Vocabulary Workshop: Word Origins and Word Parts

Grammar Workshop: Sentence Combining

Reading 1.2, Reading 2.1, Reading 3.2, Reading 3.3, Reading 3.1

Writing 2.3.a

Language Conventions 1.1

Week 3 from The Canterbury Tales Literary Periods: The Development of English

Reading 3.7.a, Reading 3.9, Reading 3.3

Writing 1.1, Writing 2.1.c, Writing 1.5, Writing 2.2.d

Week 4 TIME: The Roads Now Takenfrom The Book of Margery Kempe

from Sir Gawain and the Green Knight

Grammar Workshop: Verb Tense Reading 2.0, Reading 3.6

Writing 1.2, Writing 1.5, Writing 2.1


UNIT ONEUNIT ONE

California Treasures Student Edition


Weekly PacingGlencoe Literature: California Treasures—British Literature comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Student Edition covers the standards in 180 days.

How do I cover the standards in the 180/150 days of the year?


Pacing 41

Week 5 Historical Perspective: from A Distant Mirror

from Le Morte d’Arthur

Bonny Barbara Allan AND Get Up and Bar the Door

Vocabulary Workshop: Context Clues

Literary Periods: The Ballad Tradition

Reading 2.0, Reading 3.1, Reading 2.2, Reading 3.7

Writing 1.7, Writing 2.1.e

Week 6 Writing Workshop: Biographical Narrative

Speaking, Listening, and Viewing Workshop: Photo Essay

Writing 2.1, Writing 1.2

Listening and Speaking 1.10



Week 7

On Monsieur’s Departure AND Speech to the Troops at Tilbury

Whoso List to Hunt

Sonnet 30 AND Sonnet 75

Sonnet 31

The Passionate Shepherd to His Love

The Nymph’s Reply to the Shepherd

Of Studies

Unit Introduction

Literary Periods: The Development of the Sonnet

Vocabulary Workshop: Dictionary Use

Reading 3.7.a, Reading 2.2, Reading 2.3, Reading 3.1, Reading 3.3, Reading 1.1, Reading 3.4

Writing 1.7, Writing 1.5, Writing 2.1, Writing 2.2.d

Week 8 Sonnet 116 AND Sonnet 130Sonnet 73 AND Sonnet 29

Fear No More the Heat o’ the Sun AND Blow, Blow, Thou Winter Wind

To be, or not to be from Hamlet AND All the world’s a stage from As You Like It AND Our revels now are ended from The Tempest

Grammar Workshop: Subject-Verb Agreement

Reading 3.1, Reading 3.4,Reading 2.4, Reading 3.2, Reading 3.3, Reading 2.2

Writing 2.3

Week 9 The Tragedy of Macbeth, Acts 1–3 Literary Periods:Shakespeare’s Theater

Reading 2.0, Reading 3.3, Reading 3.7a, 3.9

Writing 2.4, Writing 2.2.a, Writing 2.1

Week 10 The Tragedy of Macbeth, Acts 4–5Visual Perspective: Throne of Blood from Shakespeare on Screen

TIME: Midsummer Night’sSpectacle

Reading 2.0, Reading 3.1, Reading 2.4


UNIT TWOUNIT TWO



PACINGCACA


Week 13How Soon Hath Time AND When I Consider How My Light Is Spent

from Paradise Lost

from The Pilgrim’s Progress

On Her Loving Two Equally

from The Diary of Samuel Pepys

Unit Introduction

Vocabulary Workshop: Thesaurus Use

Reading 3.7c, Reading 3.4, Reading 3.1, Reading 1.0, Reading 3.3, Reading 2.5

Writing 1.7, Writing 2.4a, Writing 2.5.d, Writing 2.2, Writing 1.1, Writing 1.6

Week 14 A Modest Proposalfrom Gulliver’s Travels

Epigrams

from The Rape of the Lock

Letter to Her Daughter

Vocabulary Workshop: Denotation and Connotation

Literary Periods:The Essay

Reading 2.2, Reading 3.1, Reading 3.2, Reading 3.4, Reading 1.0, Reading 2.4, Reading 3.7a

Writing 2.3.b, Writing 2.1, Writing 2.2.d, Writing 1.1


Week 15 from The SpectatorComparing Literature: from A Journal of the Plague Year AND from History of the Peloponnesian War AND from The Plague

TIME: Death by Mosquito

Reading 3.3, Reading 3.1, Reading 3.7a, Reading 2.4

Writing 2.1, Writing 2.2b, Writing 2.2a

UNIT THREEUNIT THREE


Week 11 from Genesis Psalm 23

Eve’s Apology from Salve Deux Rex Judaeorum

Song AND A Valediction: Forbidding Mourning AND Death Be Not Proud

Meditation 17

On My First Son AND Song: to Celia

Literary Periods: The Metaphysical Poets

Vocabulary Workshop: Analogies

Reading 3.9, Reading 3.3, Reading 2.0, Reading 3.4, Reading 1.3, Reading 3.2, Reading 3.1

Writing 2.2c, Writing 1.1, Writing 2.2a, Writing 2.2e

Week 12 Comparing Literature: To the Virgins, to Make Much of Time AND Carpe Diem AND To Hélène AND from the Rubáiyát

Why So Pale and Wan, Fond Lover?

To Lucasta, Going to the Wars

To His Coy Mistress

Literary Periods: The Cavalier Poets

Writing Workshop: Historical Investigation Report

Speaking, Listening, and Viewing Workshop: Multimedia Presentation


Writing 2.2d, Writing 2.3b, Writing 1.6, Writing 2.4

Listening and Speaking 2.2, 2.4




Pacing 43

Week 16 from A Dictionary of the English Language

from The Life of Samuel Johnson

Historical Perspective:from Samuel Johnson

Grammar Workshop: Pronoun-Antecedent Agreement


Writing 1.1, 1.5, 1.7

Language Conventions 1.1, Language Conventions 1.2

Week 17 Writing Workshop: Persuasive Essay Speaking, Listening, and Viewing Workshop: Persuasive Speech




Week 18Elegy Written in a Country Churchyard

To a Mouse AND Auld Lang Syne

from A Vindication of the Rights of Woman

TIME: Raising Their Voices

Unit Introduction

Vocabulary Workshop: Greek and Latin Roots, Prefixes, and Suffixes

Grammar Workshop: Dangling Modifiers

Reading 3.7c, Reading 2.3, Reading 3.4, Reading 3.3, Reading 2.4, Reading 2.0, Reading 1.2, Reading 2.5

Writing 2.1, Writing 2.2.c


Week 19 A Poison Tree AND The Lamb AND The Tyger

London AND The Chimney Sweeper from Songs of Innocence AND The Chimney Sweeper from Songs of Experience

from Pride and Prejudice

The World Is Too Much with Us AND It Is a Beauteous Evening, Calm and Free AND My Heart Leaps Up AND Composed Upon Westminster Bridge, September 3, 1802



Week 20 Lines Composed a Few Miles Above Tintern Abbey

from The Journals of Dorothy Wordsworth

Kubla Khan

The Rime of the Ancient Mariner


Writing 2.2.d, Writing 2.1

UNIT FOURUNIT FOUR




PACINGCACA


Week 21 Historical Perspective:from In Patagonia

from the Introduction to Frankenstein

She Walks in Beauty AND from Childe Harold’s Pilgrimage

Ozymandias

Ode to the West Wind AND To a Skylark

Literary Periods: The Byronic Hero Reading 3.7.c, Reading 3.1, Reading 3.4, Reading 3.7.a, Reading 3.3


Week 22 La Belle Dame sans Merci AND When I Have Fears That I May Cease To Be

Ode on a Grecian Urn

Comparing Literature: To Autumn AND Haiku for Four Seasons AND Untying the Knot from Pilgrim at Tinker Creek

Reading 3.1, Reading 3.7b Reading 3.3, Reading 3.4


Week 23 Writing Workshop: Reflective EssaySpeaking, Listening, and Viewing Workshop: Reflective Presentation

Writing 2.3, Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.9

Speaking and Listening 2.1



Week 24

from In Memoriam A.H.H. AND Crossing the Bar AND Tears, Idle Tears from The Princess

Ulysses

Comparing Literature: Sonnet 43 AND Love Is Not All: It Is Not Meat nor Drink AND In My Life

TIME: What is Love?

Pied Beauty AND Spring and Fall: To a Young Child

Unit Introduction Reading 3.7.c, Reading 2.3, Reading 3.3, Reading 3.4, Reading 2.4



UNIT F IVEUNIT F IVE



Pacing 45

Week 25 JabberwockyHistorical Perspective: Jabberwocky

from Jane Eyre

My Last Duchess

from Oliver Twist

Literary Periods:

The Age of the Novel

Grammar Workshop: Noun Clauses

Vocabulary Workshop: Word Origins: Politics and History

Reading 2.0, Reading 3.4, Reading 3.0, Reading 3.3, Reading 3.1, Reading 1.1, Reading 3.7, Reading 1.2

Writing 2.2.a, Writing 1.6, Writing 1.2, Writing 1.3


Listening and Speaking 2.2.a

Week 26 Dover Beach To an Athlete Dying Young

The Darkling Thrush AND The Man He Killed AND “Ah, Are You Digging on My Grave?”

Reading 3.1, Reading 3.4, Reading 3.2, Reading 3.3


Week 27 Writing Workshop: Response to Literature

Speaking, Listening, and Viewing Workshop: Oral Response to Literature




Week 28Comparing Literature: A Cup of Tea AND Village People AND The Parable of Lazarus and the Rich Man AND from the Qur’an

TIME: Down and Out in Europe

Miss Youghal’s Sais

Shooting an Elephant

Unit Introduction

Literary Periods: The Modern British Short Story

Grammar Workshop: Coordinating Conjunctions

Reading 3.7.c, Reading 2.2, Reading 2.0, Reading 3.0

Writing 1.7, Writing 2.1.c, Writing 2.2.c, Writing 2.4.a, Writing 1.3


Week 29 DreamersDulce et Decorum Est

Historical Perspective:from The Great War and Modern Memory

The Lake Isle of Innisfree AND When You Are Old

Sailing to Byzantium AND The Second Coming

Reading 2.4, Reading 3.4

Writing 2.1, Writing 2.4.b, Writing 2.2

UNIT SIXUNIT SIX



PACINGCACA


Week 30 PreludesThe Rocking-Horse Winner

Araby

from A Room of One’s Own

Be Ye Men of Valor

Vocabulary Workshop: Word Origins: Math and Science

Vocabulary Workshop: Loaded Words

Reading 3.3, Reading 3.4, Reading 1.2, Reading 3.0, Reading 2.4, Reading 2.1

Writing 2.1.c, Writing 2.2.b, Writing 1.3, Writing 1.4

Week 31 The Demon LoverMusée des Beaux Arts AND The Unknown Citizen

A Shocking Accident

Fern Hill AND Do Not Go Gentle into That Good Night

Grammar Workshop: Run-on Sentences


Writing 1.1, Writing 2.4, Writing 2.1.c, Writing 2.2.a


Week 32 Writing Workshop: Short Story Speaking, Listening, and Viewing Workshop: Performance of a Short Story


Listening and Speaking 1.7, Listening and Speaking 1.10



Week 33

Not Waving but Drowning

At the Pitt-Rivers

Comparing Literature: Shall We Choose Death? AND The Tribe with Its Eyes on the Sky AND Political Science

Follower

Wind

Unit Introduction Reading 2.0, Reading 2.2, Reading 3.3, Reading 3.8, Reading 3.4, Reading 3.9


Week 34 That’s All

What We Lost

A Mild Attack of Locusts

The Train from Rhodesia

Dead Men’s Path

Telephone Conversation

Two Sheep

Literary Periods: British Drama—from the Drawing Room to the Kitchen Sink

Vocabulary Workshop: Homophones


Writing 1.2, Writing 1.7, Writing 1.3, Writing 2.2.d, Writing 2.3, Writing 2.1

UNIT SEVENUNIT SEVEN



Pacing 47

Week 35 from Tales of the Islands

B. Wordsworth

Literary Perspective: from Imaginary Homelands

Games at Twilight

Elegy for the Giant Tortoises

TIME: Music Goes Global

Reading 3.1, Reading 3.4, Reading 1.0, Reading 3.3, Reading 2.0, Reading 2.5

Writing 2.1.c, Writing 1.7, Writing 2.4, Writing 1.1

Week 36 Writing Workshop: Critical Review

Speaking, Listening, and Viewing Workshop: Deliver a Critical Review

Media Workshop: Analyze Media Messages


Listening and Speaking 1.4, Listening and Speaking 1.6, Listening and Speaking 1.1, Listening and Speaking 1.3, Listening and Speaking 1.12




PACINGCACA


Weekly PacingThe chart below shows how the Essential Course of Study can be taught in 180 days while covering the standards in the first 150 days of the year.

Week 1 from Beowulf Reading 1.1, Reading 2.2Writing 2.2.a

Week 2 from The Pardoner’s Tale Reading 3.3, Writing 1.5

Week 3 from Sir Gawain and the Green Knight Reading 3.6Writing 2.1

Week 4 Writing Workshop: Biographical Narrative

Writing 2.1.c

Week 5 Speaking, Listening, and Viewing Workshop: Photo EssayOn Monsieur’s Departure AND Speech to the Troops at Tilbury




Week 6 Sonnet 73 AND Sonnet 29 Reading 3.1, Reading 3.4, Reading 2.4Writing 2.3.b

Week 7 The Tragedy of Macbeth, Act 1, Scenes 1–2Eve’s Apology from Salve Deux Rex Judaeorum


Writing 2.4, Writing 2.2.c

Week 8 Meditation 17Writing Workshop: Historical Investigation Report



Week 9 Speaking, Listening, and Viewing Workshop: Multimedia Presentation

A Modest Proposal



Week 10 Letter to Her DaughterWriting Workshop: Persuasive Essay



Week 11 Speaking, Listening, and Viewing Workshop: Persuasive Speech

Writing 1.7


California Treasures Essential Course of Study

Selections Content StandardsCACACACA


Pacing 49

Week 12 Elegy Written in a Country Churchyard from A Vindication of the Rights of Woman

Lines Composed a Few Miles Above Tintern Abbey


Writing 2.1, Writing 2.2.c, Writing 2.2.d

Week 13 Writing Workshop: Reflective Essay Writing 2.3

Week 14 Speaking, Listening, and Viewing Workshop: Reflective Presentation

Writing 2.3.a

Speaking and Listening 2.1

Week 15 TIME: What is Love?Jabberwocky


Writing 1.7

Week 16 Writing Workshop: Response to Literature Reading 2.0, Reading 2.2, Reading 3.4Writing 2.2.a

Week 17 Speaking, Listening, and Viewing Workshop: Oral Response to Literature

Listening and Speaking 2.3, Listening and Speaking 2.3.b

Week 18 Sailing to Byzantium AND The Second Coming Reading 3.4Writing 2.4.b

Week 19 Preludes Reading 3.3, Reading 3.4Writing 2.1.c

Week 20 from A Room of One’s Own Reading 2.4, Reading 3.3Writing 1.3

Week 21 Be Ye Men of Valor Reading 2.1Writing 1.4

Week 22 Writing Workshop: Short Story Writing 2.1, Writing 1.7

Week 23 Speaking, Listening, and Viewing Workshop: Performance of a Short Story

Writing 1.1


Week 24 Comparing Literature: Shall We Choose Death? AND The Tribe with Its Eyes on the Sky AND Political Science

Reading 3.8

Writing 1.3

Week 25 A Mild Attack of Locusts Reading 3.2, Reading 3.7Writing 1.7, Writing 1.3

Week 26 Writing Workshop: Critical Review Writing 1.1, Writing 1.3

Week 27 Speaking, Listening, and Viewing Workshop: Deliver a Critical Review

Listening and Speaking 1.4, Listening and Speaking 1.6, Listening and Speaking 1.3

Week 28 Media Workshop: Analyze Media Messages Listening and Speaking 1.1, Listening and Speaking 1.3, Listening and Speaking 1.12

Week 29 The Passionate Shepherd to His Love Reading 3.1, Reading 3.3Writing 2.2.d



PACINGCACA


Week 30 from The Diary of Samuel Pepys Reading 2.5, Reading 3.1Writing 1.6

Week 31 from The Journals of Dorothy Wordsworth Reading 3.1, Reading 3.3Writing 2.1

Week 32 from The Journals of Dorothy Wordsworth, continued Reading 3.1, Reading 3.3Writing 2.1

Week 33 Ode on a Grecian Urn Reading 3.1

Week 34 Dover Beach Reading 3.1, Reading 3.4Writing 1.1

Week 35 Dover Beach, continued AND To an Athlete Dying Young Reading 3.1, Reading 3.4Writing 1.1

Week 36 To an Athlete Dying Young, continued Reading 2.2, Reading 3.1, Reading 3.7Writing 2.1



ON LEVEL

ADVANCED

APPROACHING

ENGLISH LEARNERS

Universal Access 51

These students read and comprehend at a grade-appropriate level.

Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.

English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning, Early Intermediate, Intermediate, and Early Advanced.

These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.

Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:

• • On Level

• • Approaching

• • English Learners

• • Advanced

• • Differentation in the Teacher Edition

• • Enrichment Projects

First Proof Second Proof Third Proof PDF ProofGrade 12

How do I differentiate my instruction?

051-063_G12_Universal_CA.indd 51051-063_G12_Universal_CA.indd 51 6/6/08 9:48:59 AM6/6/08 9:48:59 AM

ON LEVEL


FOCUS

TEACH

ASSESS

EXTEND

Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment

Day 1 Day 2 Day 3 Day 4 Day 5

Motivating and Building Background

Pacing Chart: The diagram below shows how to pace a single week for on-level learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson.


UNIVERSAL ACCESSCACA


ON LEVEL

Universal Access 53

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward on-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Literature Launchers: Pre-Reading Videos DVD• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Media Workshop DVD

Vocabulary• California Treasures SE and TE• On-Level Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)

Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)

Reteaching• California Treasures SE and TE• On-Level Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• The Novel Companion• inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE

First Proof Second Proof Third Proof PDF Proof Grade 12


FOCUS

TEACH

ASSESS

EXTEND


APPROACHING


Pacing Chart: The diagram below shows how to pace a single week for approaching-level, or struggling, learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Approaching-level learners need to spend more time on Motivating and Building Background and Reteaching.

Vocabulary

Reading Skills

Writing and Grammar

Reteaching

Assessment

Enrichment





APPROACHING

Universal Access 55

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward approaching-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE• Interactive Vocabulary CD-ROM• Approaching Read and Write SE and TE• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies

Writing and Grammar• California Treasures SE and TE• Approaching Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• Approaching Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• inTIME• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE


Revised


FOCUS

TEACH

ASSESS

EXTEND

Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment



ENGLISH LEARNERS


Pacing Chart: The diagram below shows how to pace a single week for English learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. English learners need to spend more time on Building Background and Vocabulary.




ENGLISH LEARNERS

Universal Access 57

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE • English Learners Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• English Language Coach

Writing and Grammar• California Treasures SE and TE• English Learners Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• English Learners Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• English Language Coach

Enrichment• Ethnic Anthologies• inTIME• World Literature SE and TE

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward English learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.


Revised


FOCUS

TEACH

ASSESS

EXTEND


ADVANCED


Pacing Chart: The diagram below shows how to pace a single week for advanced learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Since advanced learners will work at an accelerated pace, a large portion of their instruction can be devoted to Enrichment.


Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment




ADVANCED

Universal Access 59

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward advanced learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• The Novel Companion SE and TG• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• The Novel Companion SE and TG• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• On-Level Read and Write SE and TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM

Enrichment• Ethnic Anthologies • inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Enrichment Projects• World Literature SE and TE




Differentiation in the Teacher EditionThe Teacher Edition of Glencoe Literature: California Treasures provides a variety of features to help with differentiated instruction, all labeled and wrapped around reduced pages of the Student Edition.

These features include:

• • leveled skills instruction for English learners, on-level, approaching-level (struggling), and advanced learners

• • teaching notes for speakers of African American vernacular English

• • resource suggestions at point-of-use to help differentiate your instruction

• • vocabulary teaching activities

• • grouping suggestions

• • in-depth activities and teaching strategies for English learners, on-level, approaching-level, and advanced learners

• • Progress Checks to help assess the performance of struggling students

The following pages show where to fi nd these features in the Teacher Edition.




Universal Access 61

The Barber Institute of Fine Arts, University of Birmingham/Bridgeman Art Library

ALEXANDER POPE 577

from Th e Rape of the Lock

Alexander Pope

from Canto III

Close by those meads,° for ever crown’d with flowers, Where Thames with pride surveys his rising towers, There stands a structure of majestic frame,° Which from the neighb’ring Hampton takes its name. 5 Here Britain’s statesmen oft the fall foredoom Of foreign tyrants, and of nymphs at home; Here thou, great Anna!° whom three realms obey, Dost sometimes counsel take—and sometimes tea. Hither the heroes and the nymphs resort, 10 To taste a while the pleasures of a court; In various talk th’ instructive hours they pass’d, Who gave the ball, or paid the visit last; One speaks the glory of the British Queen, And one describes a charming Indian screen; 15 A third interprets motions, looks, and eyes; At every word a reputation dies. Snuff, or the fan, supply each pause of chat, With singing, laughing, ogling, and all that. Meanwhile, declining from the noon of day, 20 The sun obliquely shoots his burning ray; The hungry judges soon the sentence sign, And wretches hang that jurymen may dine. . . . Belinda now, whom thirst of fame invites, Burns to encounter two adventurous knights, 25 At ombre° singly to decide their doom; And swells her breast with conquests yet to come. . . . The nymph exulting fills with shouts the sky; The walls, the woods, and long canals reply. O thoughtless mortals! ever blind to fate, 30 Too soon dejected, and too soon elate.

Mock-Epic What makes Pope’s description of Queen Anne humorous and satirical?

Interpret Imagery What is happening in this image? What does the image suggest about this society?

The Battle of the Beaux and the Belles, drawing for the eighth illustration from “Rape of the Lock”, 1896. Aubrey Beardsley. 25.7 x 17.6 cm. Pen and ink on paper. The Barber Institute of Fine Arts, University of Birmingham.

1 meads: meadows—often wet, grassy lands.3 structure . . . frame: Pope is referring to Hampton Court, the royal palace.7 Anna: Queen Anne, who ruled Great Britain and Ireland and claimed to rule France; thus, “whom three realms obey.”

25 Ombre: a card game.

577

TeachLiterary Element 1

Mock-Epic Answer: Pope’s description juxtaposes the monu-mental (“three realms obey”; “sometimes counsel take”) with the trivial (“sometimes tea” and the nickname, “Anna”).

Reading Strategy 2

Interpret Imagery Answer: As noontime passes, the hungry judges rush the sentencing of the “wretches” to hang so that they may leave for dinner. This exaggerated image reveals the self-involved nature of the people Pope is satirizing. ENGLISH LEARNERS Make sure that

English Learners understand that, in this context, a sentence is the decision the court has made about an accused person’s punishment. Students may want to look up sentence in a dictionary to clarify its meaning.

Political History Queen Anne took the throne in 1702, succeeding King William III. She was 37 years old and suff ered from gout and the pain of several miscarriages.AAVE Approaching-level students who

are users of African American vernacular English (AAVE) may need to review rules for forming possessives. Remind them that the ’s in the word China’s shows that the noun “earth” belongs to China. Have them fi nd other examples on the page. (Scylla’s

fate, Belinda’s neck). Invite volunteers to read these examples aloud, taking care to pronounce the ’s.

For additional literary element practice, see Unit 3 Teaching Re-sources Book, p. 122.

1

2

UNIVERSAL ACCESS

Approaching Level

CACA ELA WOELC 1.1 Demonstrate control of grammar, diction, and paragraph and sentence structure and an under-standing of English usage.

MARY SHELLEY 793

Mary Shel ley

The publishers of the Standard Novels, in selecting Frankenstein for one of their series, expressed a wish that I should furnish them with some account of the origin of the story. I am the more willing to comply because I shall thus give a general answer to the question so very frequently asked me—how I, then a young girl, came to think of and to dilate1 upon so very hideous an idea.

It is true that I am very averse to bringing myself forward in print, but as my account will only appear as an appendage2 to a former pro-duction, and as it will be confined to such top-ics as have connection with my authorship alone, I can scarcely accuse myself of a personal intrusion.

It is not singular that, as the daughter of two persons of distinguished literary celebrity, I should very early in life have thought of writ-ing. As a child I scribbled, and my favorite pas-time during the hours given me for recreation was to “write stories.” Still, I had a dearer plea-sure than this, which was the formation of

castles in the air—the indulging in waking dreams—the following up trains of thought, which had for their subject the formation of a succession of imaginary incidents. My dreams were at once more fantastic and agreeable than my writings. In the latter I was a close imita-tor—rather doing as others had done than put-ting down the suggestions of my own mind. What I wrote was intended at least for one other eye—my childhood’s companion and friend; but my dreams were all my own. I accounted for them to nobody; they were my refuge when annoyed—my dearest pleasure when free.

I lived principally in the country as a girl and passed a considerable time in Scotland. I made occasional visits to the more picturesque parts, but my habitual residence was on the blank and dreary northern shores of the Tay, near Dundee. Blank and dreary on retrospection, I call them; they were not so to me then. They were the aerie3 of freedom and the pleasant region where unheeded I could commune with the creatures of my fancy. I wrote then, but in a most com-monplace style. It was beneath the trees of the grounds belonging to our house, or on the bleak sides of the woodless mountains near, that my

1. Here, dilate means “speak or write at length.”2. An appendage is an addition or accompaniment.

Activate Prior Knowledge Why might publishers ask authors to describe the origin of their stories?

3. An aerie is a nest or retreat.

793

TeachReading Strategy 1

Activate Prior Knowledge Answer: Publishers might believe that an author’s testimony will enhance a new edition of a novel, enticing readers to purchase the book. Ask: What makes you curi-ous about an author’s ideas and inspirations? (Responses will vary.)

ENGLISH LEARNERS Write the following questions on the board and have English learners work with a partner in answering them. What is your favorite book or story? Why? What would you like to know about its author?

Big Idea 2

Nature and the Imagination Ask: How does nature play a role in Mary Shelley’s life as a child? (She grew up in a rural environment and spent many hours outdoors in Scotland, writing stories and indulging in daydreams.)

Readability ScoresDale-Chall: 10.5DRP: 63Lexile: 1210

1

2

For additional practice using the reading skill or strategy, see Unit 4 Teaching Resources Book, p. 170.

For an audio recording of this selection, use Listening Library Audio CD-ROM.

UNIVERSAL ACCESS

Approaching Level

CACA ELA R 2.5 Analyze an author’s implicit and explicit philosophical assumptions and beliefs about a subject.

CACA ELA W 2.2 Write responses to literature:a. Demonstrate a comprehensive understandingof the signifi cant ideas in works or passages.

SMALL GROUP

Strategic B ecause this selection contains challenging vocabulary,

complex sentence structures, and lengthy paragraphs, summarizing may be a use-ful tool for less-profi cient readers. Divide students into small groups. Have them pause after reading each paragraph and identify its main ideas. Finally, have them

write summaries of the paragraphs. Model summarizing the fi rst paragraph: Publishers asked Shelley to write an introduction toFrankenstein. They wanted her to explain how a young girl could write a horror story.

Resource Suggestions at Point-of-Use Helpful suggestions for using Glencoe Literature ancillary material to differentiate instruction.

Skills InstructionThese notes provide additional instruction and support for the skills taught in a lesson. They are geared toward English learners, on-level, advanced, and approaching-level students.

Proficiency LevelsNotes provide leveled practice and activities for two levels of approaching-level students—benchmark and strategic—and for three levels of English learners—beginning/early intermediate, intermediate, and early advanced.

Teaching NotesNotes provide support for students who are speakers of African American vernacular English.




Before You Read

BEOWULF 23

Literature and Reading PreviewConnect to the EpicWho are some heroes or role models in society today? Discuss these heroes with a partner, trying to determine what qualities they share.

Build BackgroundThe story of Beowulf is set in the sixth century �.�., but it is not set in England. The story takes place in Scandinavia, and it involves the Geats (gēts), a tribe in southern Sweden, and the Danes, a tribe in Denmark.

Set Purposes for Reading Big Idea The Epic WarriorIn the primitive world of the early Anglo-Saxons, the hero held a place of great importance. As you read, ask yourself, What heroic qualities does Beowulf display?

Literary Element ConflictConflict is a struggle between opposing forces in a story or drama. An external conflict exists when a character struggles against some outside force, such as another person or nature. An internal conflict is a struggle within the mind of a charac-ter. As you read Beowulf, ask yourself, In what conflicts is the hero involved?

Reading Strategy Identify Sequence Identifying sequence is finding the logical order of ideas or events in a text. In Beowulf, the poet retells three principal epi-sodes in the hero’s life. As you read, ask yourself, In what order do the events in these episodes occur?

Tip: Taking Notes Use a graphic organizer like the one started below to record the order of events in each episode.

Danes celebrate in Herot. The warriors’ rejoicing enrages Grendel.

For pages 22–55

Reading: 2.2 Analyze the way in which clarity of meaning is affected by the patterns of organization, hierarchical structures, repetition of the main ideas, syntax, and word choice in the text.

CACA Content Standards

Vocabulary

lament (lə ment�) n. expression of sorrow; song or literary compo-sition that mourns a loss or death; p. 25 The mother’s lament for her child brought tears to my eyes.

forged (fôrjd) adj. formed or shaped, often with blows or pres-sure after heating; p. 25 By ham-mering and bending the white hot iron, the blacksmith forged an axle.

shroud (shroud) n. burial cloth; p. 30 The bodies of the slain were wrapped in shrouds.

infamous (in� fə məs) adj. hav-ing a bad reputation; notorious; p. 31 The pirate was infamous for his brutal treatment of prisoners.

writhing (rı̄ � thing) adj. twist-ing, as in pain; p. 32 Whining and writhing, the wounded dog rolled its head from side to side.

23

FocusSummaryDenmark’s King Hrothgar builds a huge banquet hall for his people. Their noisy celebrations infuriate a monster named Grendel, who terrorizes and attacks them, kill-ing many. A young hero named Beowulf from nearby Geatland saves the Danes by killing Grendel and later Grendel’s mother. Beowulf eventually becomes king of Geat-land and dies an old man, defend-ing his people from a dragon.

VocabularyDiction Diction encompasses an author’s choices of words, sentence length, and sentence complexity. The translator of Beowulf has chosen words that create a formal, old-fashioned feeling appropriate for an ancient epic. Ask: What word would you use instead of lament in common speech? (cry, wail)

Intermediate The word infamous can present diffi culties to English learners and native speakers alike. Say: Look at the word infamous. What parts make up the word? Help students observe that the word consists of the prefi x -in and famous. If necessary, explain that in- means “not.” Say: Read the defi nition. Does infamous mean “not famous”? (no) Ask students to name well-known historical or fi ctional characters or celebrities who could be clas-

sifi ed as “famous” or “infamous.” (Answers will vary. To make certain students under-stand the concept, ask them to explain their reasons for labeling a given person or character as infamous.)

Interactive Read and Write

Other options for teaching this selection can be found in

• Interactive Read and Write for English Learners, pp. 1–18

• Interactive Read and Write for Approaching-Level Learners, pp. 1–18

• Interactive Read and Write for On-Level Learners, pp. 1–18

For summaries in languages other than English, see Unit 1 Teaching Resources Book, pp. 22–27

UNIVERSAL ACCESS

English Learners

CACA ELA WOELC 1.1 Demonstrate control of grammar, diction, and paragraph and sentence structure and an understanding of English usage.

Universal AccessActivities for your diverse classrooms are clearly labeled. These activities build students’ proficiency by targeting content area knowledge and by providing strategies to introduce, teach, and reinforce concepts.

Vocabulary Preteaching Because vocabulary is a key component of reading success, we provide additional vocabulary preteaching activities for struggling students and English learners in your classroom.




Universal Access 63

Sotheby’s/akg-images

550 UNIT 3 FROM PURITANISM TO THE ENLIGHTENMENT

t is a melancholy object to those who walk through this great town,2 or travel in the country, when they see the streets, the roads,

and cabin doors crowded with beggars of the female sex, followed by three, four, or six chil-dren, all in rags, and importuning every passenger for an alms.3 These mothers, instead of being able to work for their honest livelihood, are forced to employ all their time in strolling to beg suste-nance for their helpless infants who, as they grow

up, either turn thieves for want4 of work or leave their dear Native Country to fight for the Pretender5 in Spain or sell themselves to the Barbadoes.6

I think it is agreed by all parties that this prodigious number of children, in the arms or on the backs or at the heels of their mothers, and frequently of their fathers, is, in the present deplor-able state of the kingdom, a very great additional grievance; and, therefore, whoever could find out a fair, cheap, and easy method of making these

FOR PREVENTING THE CHILDREN OF POOR PEOPLE FROMBEING A BURTHEN1 TO THEIR PARENTS OR THE COUNTRY,

AND FOR MAKING THEM BENEFICIAL TO THE PUBLIC.

sustenance (sus� tə nəns) n. food or items that support life

Vocabulary

Jonathan Swift Waifs and Strays, 1882. Joseph Clark. Oil on canvas, 102 x 84 cm. Sotheby’s, London.

1. A burthen is a burden.2. The town referred to here is Dublin, Ireland.3. [Importuning . . . alms] means “asking every passerby for

a handout.”

4. Here, want means “lack.”5. The Pretender was a name given to James Edward Stuart

(1688–1766), the son of England’s deposed king, James II. James Edward had the loyalty and sympathy of the Irish people because he was Roman Catholic.

6. [Sell . . . Barbadoes] is a reference to the many Irish people who hoped to escape poverty by traveling to the West Indies. They obtained passage by agreeing to work as indentured servants.

550

Teach

S Joseph Clark (1834–1926) exhibited his works at the Royal Academy in London from 1857, when he was only 23. Clark’s paintings vividly capture the spirit of Victorian England—focusing primarily on the day-to-day lives of the working class, such as the abandoned children he depicts in Waifs and Strays. Ask: What does this painting tell you about life for children during this time period? (The cramped quarters, dim colors, ragged clothing and solemn faces suggest that the children were subject to poverty and crowding. In addition, the title of the painting suggests that such poor children were routinely underfed—waifs—and abandoned—strays.)

Economic History S Famine and Riots Economic and natural hardships plagued Ire-land in the mid-1700s. Low prices caused a bank failure in 1733, and famine struck in 1740, causing bread riots in Dublin. The next year brought dysentery, and 400,000 died in the “year of the slaughter” (bliadhain an áir in Irish). Famine returned in 1744, leaving the poor with no choice but to eat grass.

Readability ScoresDale-Chall: 10.6DRP: 66Lexile: 1750

Writing PracticeSMALL GROUP

Satire In A Modest Proposal, Swift satirizes the pitiable condi-

tions of poor and abandoned children in Ireland in the early eighteenth century. Have students break into small groups and create their own “modest propos-als.” Have them address problems in

today’s society (fast food, cell-phone abusers, corrupt CEOs, politicians) and follow Swift’s model: Lay out the problem, propose a solution, and back it up with supporting reasons. Encourage students to capture the biting spirit of Swift’s satire in their own writing.

Beowulf

54 UNIT 1 THE ANGLO-SAXON PERIOD AND THE MIDDLE AGES

Literary Element ConflictAn external conflict exists when a character strug-gles against some outside force, such as another person, nature, society, or fate. An internal conflict is a struggle that takes place within the mind of a character who is torn between opposing feelings, desires, or goals.

1. Which of Beowulf’s external conflicts seems the most challenging? Explain.

2. In lines 707–717, what internal conflict does Beowulf face? How does he resolve it?

Review: Epic HeroAs you learned on page 21, an epic hero is typi-cally a person of high social status who usually embodies the ideals of his people.

Group Activity An epic hero is defined by his or her society. How might Beowulf, an Anglo-Saxon epic hero, behave in our society? What kinds of jobs might he hold? With a group of your class-mates, discuss Beowulf’s main character traits—both good and bad. Create a diagram like the one below to record your observations. Then discuss how Beowulf might act in present-day situations as well as how others might regard him. Share your conclusions with the rest of your class.

Reading Strategy Identify SequenceIdentifying the sequence of events is an important step in determining an author’s purpose for writing. In Beowulf, the hero fights three monsters in suc-cession: Grendel, Grendel’s mother, and the fire-breathing dragon.

1. What does the poet suggest about Beowulf’s challenges by using this sequence of battles?

2. How would you contrast Beowulf in youth with Beowulf in old age?

Vocabulary Practice

Throughout the epic, Beowulf is guided by his concept of fate.

Concept is an academic word. The word is also commonly used in commercial settings. For example, an electronics company might ask a designer to come up with a concept for a new product that would appeal to a younger audience.

To further explore this word, complete the following sentence: According to the traditional concept of heroism, a hero should be__________________, _________________, and _________________.

For more on academic vocabulary, see pages 56 and R81.

Academic Vocabulary

Practice with Analogies Complete each analogy below.

1. hammer : forge :: chisel : a. paint b. sand c. sculpt2. pain : writhing :: cold : a. warming b. skiing c. shivering3. criminal : infamous :: philanthropist : a. reputable b. careful c. joyous4. cheer : celebrate :: lament : a. rejoice b. mourn c. criticize5. pajamas : nap :: shroud : a. burial b. wedding c. convalescence

Literature Online

Selection Resources For Selection Quizzes, eFlashcards, and Reading-Writing Connection activities, go toglencoe.com and enter QuickPass code GLB3059u1.

54

After You Read

Assess Literary Element

Reading Strategy

1. The challenges that Beowulf must face increase in danger as he ages and the narrative progresses.

2. In youth, Beowulf relies on his prodi-gious strength to defeat Grendel and Grendel’s mother. In old age, he relies on his heroic spirit to fi ght although he knows he is doomed.

Vocabulary 1. c 2. c 3. a 4. b 5. a

Academic VocabularyPossible answer: According to the tradi-tional concept of heroism, a hero should be brave, strong, and selfl ess.

Review: Epic HeroPositive: strength, courage, self-sacrifi ce

Negative: pride, ambition, recklessness

Beowulf today: pursue activities that involve strength, risk, and the possibility of fame

Regard for Beowulf: people today do not value physical strength as highly as the Anglo-Saxons did; Beowulf probably would not enjoy the degree of esteem and respect that he had in Anglo-Saxon society.

Progress Check

Do students understand confl ict?

If No ➔ see Unit 1 Teaching Resources Book, p. 28.

Progress Check

Can students identify sequence?

If No ➔ see Unit 1 Teaching Resources Book, p. 29.

1. Possible answer: Beowulf’s con-fl ict with the dragon seems like the most challenging because he is older and possibly weaker and because he knows he is going to die.

2. These lines describe Beowulf’s conviction that he is respon-sible for his people’s suff ering. Beowulf decides to fi ght the dragon even though this battle may result in his death.

Progress CheckThis feature helps you to monitor your students’ progress and provides strategies to reinforce concepts. IF a student needs help (based on a quick and informal assessment), THEN we provide a suggestion for reteaching.

Grouping IconsFlexible grouping is an effective way to provide instruction to a diverse classroom. These symbols suggest grouping options.

Enrichment NotesEnrichment notes provide cultural and historical information that helps students build a more sophisticated understanding of the literature.





Enrichment ProjectsThe Needs of Advanced LearnersAll teachers know that their students bring different interests and ability levels to the classroom. They have different motivations and needs. In some classrooms, however, every student is asked to do the same tasks at the same pace. For advanced learners, who are capable of undertaking more sophisticated projects and are perhaps insufficiently challenged by both the content and pacing of average classroom work, this situation can be very frustrating. Inquiry-based enrichment projects can help address the needs of advanced learners.

What Is Inquiry-Based Learning?Inquiry is the problem-oriented, researched-based exploration of basic questions that drive and organize disciplines. Through inquiry, students learn essential concepts and strategies for applying those concepts in the real world. They engage the same problems and questions that real practitioners of a given discipline engage, and therefore learn to think, read, and write like experts in that area. Inquiry-based instruction is central to Glencoe Literature: California Treasures. This approach gives students significant reasons or purposes for reading. In Glencoe Literature, reading, writing, and language activities are organized around Big Ideas, designed to make learning matter to students in immediate ways. When students practice a skill or create a writing product, they are also learning to ask and think through important real-life issues. These same Big Ideas are addressed by the inquiry-based projects for advanced learners that follow.

Using the ProjectsEach of the seven projects described in the following pages relates to one of the units in Glencoe Literature: California Treasures—British Literature. The suggested duration for each project is six weeks, but this schedule can be modified depending on how individual teachers, schools, and districts choose to pace instruction. Each project offers the following:

• • a focus on the unit’s Big Ideas

• • links to the unit’s literature

• • a schedule to guide a student’s work

• • criteria for self-assessment

• • two options for developing the project


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What projects are available for my advanced learners?

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Project Development OptionsEach project offers the student two different options for developing and presenting the results of his or her inquiry. These options include:

• • print (such as narrative, poem, or essay)

• • oral (such as speech or discussion)

• • performance (such as drama or music)

• • visual (such as drawing or collage)

• • technological (such as computer-based presentations)

• • functional (such as a handbook or survey)

Big Ideas Project Option 1 Option 2U N I T O N E

The Anglo-Saxon Period and the Middle Ages

The Epic WarriorThe Power of FaithThe World of Romance

Design for a Game

visual functional

U N I T T W O

The English Renaissance

Humanists and CourtiersA Bard for the AgesThe Sacred and the Secular

Informative Presentation

performance technological

U N I T T H R E E

From Puritanism to the Enlightenment

Puritanism and the Civil WarThe RestorationThe English Enlightenment and Neoclassicism

Proposal for an Exhibit

technological visual

U N I T F O U R

The Triumph of Romanticism

The Stirrings of RomanticismNature and the ImaginationThe Quest for Truth and Beauty

Guide to a Revolution

functional performance

U N I T F I V E

The Victorian AgeOptimism and the Belief in ProgressThe Emergence of Realism Disillusionment and Darker Visions

Debate on Progress

oral print

U N I T S I X

The Modern AgeClass, Colonialism, and the Great WarModernismWorld War II and Its Aftermath

Anthology of the British Empire

technological performance

U N I T S E V E N

An International Literature

Making and Remaking TraditionsColonialism and PostcolonialismGlobalization

Glossary of Global English

visual functional


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UNIVERSAL ACCESSCACA Design for a Game

The Anglo-Saxon Period and the Middle Ages449–1485

Big Idea 1 Big Idea 2 Big Idea 3

The Epic Warrior The Power of Faith The World of Romance

U N I T O N EU N I T O N E

ProjectCreate a design for a game based on one of the literary works in Unit One. Present your design in a visual form or as a functional document.

ScheduleConnect and Explore (Weeks 1–2)

• Read literary works in Unit One. • Focus on the Big Ideas.• Conduct inquiry and research.

Develop Your Project (Weeks 3–4)

• Develop your ideas into a concept for a game.

• Choose a visual form or a functional document to express your concept.

• Create a sketch or draft a design document.

Revise and Present (Weeks 5–6)

• Revise your game concept.• Refine your game design. • Present your project.

CriteriaYour project should

• relate to one of the three Big Ideas• show an understanding of the literature in Unit One • show evidence of inquiry and research

• show a careful choice of a form to present your game concept

• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the literary works in Unit One, explore your thoughts on the three Big Ideas. Use the texts as starting points to pursue questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• How might the pursuit of fame affect the way I live my life? • How might the pursuit of fame affect the way I live my life? • Where might I go on a pilgrimage?• Where might I go on a pilgrimage?• How is life like a pilgrimage?• How is life like a pilgrimage?• How would I define my personal code of honor? • How would I define my personal code of honor?


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Connect to the Big Ideas Review the literary works in Unit One as possible starting points for different types of games, such as board games or video games. Here are a few examples:

• • The Epic Warrior A video game using Beowulf as a starting point might show a Dark Age warrior accumulating treasures as he battles the enemies of the warlord he serves.

• • The Power of Faith A board game based on The Canterbury Tales might present the various challenges faced by a group of medieval pilgrims traveling to a holy place.

• • The World of Romance A video game inspired by Sir Gawain and the Green Knight might show a knight fighting a variety of mythical monsters as he makes a dangerous quest.

Conduct Inquiry and Research Once you have chosen a literary work to serve as the background for your game, you should do inquiry and research. For example, if you choose to create a game based on Sir Gawain and the Green Knight, you might research various medieval monsters to serve as opponents for a knight that is the hero of your game. You might use index cards to keep track of the characteristics of these monsters to refer to later as you develop your game.

DragonDragon

AppearanceAppearance• lizard-like creature• lizard-like creature• covered with scales• covered with scales• long tail• long tail• sharp claws• sharp claws• sometimes two-legged; sometimes • sometimes two-legged; sometimes

four-leggedfour-legged• often winged• often winged

Abilities & HabitsAbilities & Habits• very large and strong• very large and strong• cunning• cunning• breathes fire• breathes fire• often poisonous• often poisonous• scales serve as armor• scales serve as armor• can fly• can fly• hoards treasure• hoards treasure

You should also do research on how to design games. Look at a wide variety of video and board games to get ideas. Don’t simply copy another game that you like; instead, use it as a starting point from which to develop your own ideas. Review the guidelines and tips in books and on Internet sites on game design.





Develop Your ProjectDevelop Your Ideas As you gather ideas for your game, discuss them with your family and friends. They can provide useful feedback on whether a preliminary game idea seems both entertaining and workable. They might also suggest specific ideas for developing the game. For example, if you decide to develop a design for a board game based on a medieval pilgrimage, someone might suggest that the players’ game pieces be modeled on the distinctive badges worn by medieval pilgrims. If you decide to create a video game based on Sir Gawain and the Green Knight, someone might suggest that the visual design for the different monsters the knight faces be based on the style of the gargoyles on medieval cathedrals.

Choose a Type of Game Two basic types of games that you might use as models for your game design are video games and board games. Depending on your talents and interests, you may choose one type or the other. If you enjoy drawing and sculpting, you might decide to create a board game. You could draw and color the board and model or carve the game pieces. (A card game would be another option you could develop visually.)If you are interested in video games, you might prefer to create a design document describing the concept of your game. A design document is an outline describing the key features of your video game. These should include at least the following:

• • title of your game

• • story of your game (such as the pilgrimage or quest)

• • goal of the game (how the player wins)

• • challenges the player has to overcome

• • description of intended audience

• • sketches of characters

• • sketches of levels



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Revise and PresentRevise Your Concept At this point you have roughed out the concept for your game. Review your concept to determine if it is clear and would be easy for players to follow. If you are creating a board game, you should draft the rules of the game. If you are creating the design document for a video game, look over your sketches of characters or levels. Do these sketches provide an effective impression of the visual qualities of your game?

Refine Your Project Work with a partner to revise your project. If you are creating a board game, explain your concept and share sketches of your game board, pieces, and other materials. If you are creating a video game, have your partner review your design document. In each case, ask your partner to give you feedback on the following questions.

• • What insight about one of the Big Ideas does your project offer?

• • How does your project show an understanding of the literary work on which it is based?

• • How does your project show creativity and attention to detail?

Polish and Present Your Project Review all the materials you have created for your game. If they are visual, do they create the effect you intended to create? For example, if you wanted the monsters in a Sir Gawain game to resemble medieval gargoyles, did you achieve this effect? When you have completed your project, you can decide on a method of presentation depending on the form in which you developed your game concept. If you created actual materials for a board game, including the board and the game pieces, you might invite a group of family members or friends to try playing the game. If you have created the design document for a video game, you might submit it to a competition.

Look Back After completing your project, think about what you have learned. How has developing the concept for a game added to your understanding of the period covered by Unit One? You might want to write a summary or journal entry about what you’ve learned.



UNIVERSAL ACCESSCACA Informative Presentation

The English RenaissanceBig Idea 1 Big Idea 2 Big Idea 3

Humanists and Courtiers A Bard for the Ages The Sacred and the Secular

U N I T T W OU N I T T W O

ProjectResearch material for an informative presentation on life in the court of Elizabeth I or James I. Present your research as a p

035 050 pacing g12 ca - glencoe · eek 17 speaking, listening, iewing r kshop: oral response to...

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