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COMMON COREStandards Plus®

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Language ArtsGRADE 8


COMMON CORE Standards Plus®

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AR

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CCL8-WB 8

Language Arts

SAMPLE LESSONS

Includes 2 weeks of

sample lessons out

of 34 total weeks

15-20 minutesupplemental lessons with scripted teacherdirections

Sample Performance Tas

k on Pages 41-51

Language Arts & Mathematics | Grades K-8

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CCSS Total number ofCommon CoreStandards Plus

Lessons

EBSREvidence Based

Selected Response(PARCC)

TECRTechnology-Enhanced Constructed Response

(PARCC)

PCRProse Constructed

Response(PARCC)

Reading LiteratureRL8.1- RL8.10 38 ü ü ü

Reading Informational Text

RI8.1- RI8.1038 ü ü ü

WritingW8.1- W8.10 36 ü Not Tested üSpeaking & ListeningSL8.1- SL8.6

3 Embedded Embedded üLanguage

(Conventions & Vocabulary)

L8.1- L8.6

79 ü Not Tested ü

Common Core Standards Plus® – 8th Grade Language ArtsCorrelation to PARCC and CCSS


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Performance TasksStudents Deepen and Apply Their Knowledge

• Appliesdailylessoncontentandconcepts

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CommonCoreStandardsPlus®isasupplemental curriculumthatincludes:

Integrated ProjectsStudents Adapt Knowledge to Real-World Situations

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15-20 Minute Daily Lessons and Weekly Evaluations (Short Answer – Constructed and Selected Response)

Students Learn Essential Common Core Knowledge

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K L

eve

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, 2,

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vels

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Grade 3 – Common Core Standards Plus® – Language Arts – EngageNY Correlation

Reading Lessons Writing Lessons * Use the Performance Lessons to reinforce content and build application skills.

Week Standards Plus® Daily Lessons (L), Evaluations (E), Performance Lessons (P) Standards TE pgs. DOK

Enga

ge N

Y Mod

ule 1

1 Reading Literature L1‐4, E1 RL.3.1, RL.3.3 272‐281 1‐2

2 Reading Literature L13‐16, E4 RL.3.5 308‐317 1‐2

3 Vocabulary Acquisition & Use L1‐4, E1 L.3.4a 220‐229 1‐2

4 Reading Informational Text L5‐8, E2 RI.3.2 376‐385 1‐2

Performance Lesson 8 – Main Idea Graphic Organizer and Poster* RI.3.2 386‐390 3

5 Writing – Informative/Explanatory L9‐12, E3 W.3.2 – Inf. / Exp. 458‐467 1‐2

6 Writing – Informative/Explanatory L13‐16, E4 W.3.2 – Inf. / Exp. 468‐477 1‐2

Performance Lesson 11 – Compare 2nd and 3rd Grade* W.3.2a‐d 478‐481 3

Enga

ge N

Y Mod

ule

2A 7 Reading Informational Text L1‐4, E1

RI.3.1, RI.3.3 360‐369 1‐2

Performance Lesson 7 – Literal and Inferred Questions* RI.3.1, RI.3.3 370‐374 3

8 Reading Informational Text L17‐20, E5 RI.3.1, RI.3.3 416‐425 1‐2

9 Reading Informational Text L13‐16, E4 RI.3.5 402‐411 1‐2

10 Knowledge of Language L1‐4 & E1 L.3.3a, b 202‐211 1‐2

11 Grammar & Usage L5‐8, E2 L.3.1a, d, e 140‐149 1‐2

Enga

ge N

Y Mod

ule

3A 12 Reading Literature L5‐8, E2

RL.3.5 282‐291 1‐2

13 Reading Literature L17‐20, E5 RL.3.5 318‐327 1‐2

Performance Lesson 6 – Point of View Movie Poster* RL.3.2, RL.3.4, RL.3.6 328‐333 3

14 Vocabulary Acquisition & Use L9‐12, E3 L.3.5a, b 240‐249 1‐2

15 Grammar & Usage L1‐4, E1 L.3.1a, b, c 130‐139 1‐2

16 Vocabulary Acquisition & Use L5‐8,E2 L.3.4b, c 230‐239 1‐2

17 Writing – Opinion L1‐4, E1 W.3.1 – Opinion 434‐443 1‐2

18 Writing – Opinion L5‐8, E2 W.3.1 – Opinion 444‐453 1‐2

Performance Lesson 10 – The Best Super Power* W.3.1, W.3.1a‐d 454‐455 3

Enga

ge N

Y Mod

ule

3B 19 Reading Literature L9‐12, E3

RL.3.7 292‐301 1‐2

Performance Lesson 5 – Character Study and Comic Strip* RL.3.1, RL.3.3, RL.3.5, RL.3.7 302‐307 3

20 Reading Informational Text L9‐12, E3 RI.3.6, RI.3.8 392‐401 1‐2

Performance Lesson 9 – Point of View and Text Connections* RI.3.5, RI.3.6, RI.3.8 412‐414 3

21 Writing – Narrative L17‐20, E5 W.3.3 – Narrative 482‐491 1‐2

22 Writing – Narrative L21‐24, E6 W.3.3 – Narrative 492‐501 1‐2

Performance Lesson 12 – Rewriting a Fairy Tale* W.3.3a‐d 502‐505 3

23 Grammar & Usage L13‐16, E4 L.3.1a, g 160‐169 1‐2

24 Grammar & Usage L17‐20, E5 L.3.1h, i 170‐179 1‐2

Enga

ge N

Y Mod

ule 4 25 Grammar & Usage L9‐12, E3

L.3.1a, f 150‐159 1‐2

Performance Lesson 3 – Writing Varied Sentences* L.3.1a ‐ L.3.1i 180‐183 3

26 Vocab. Acquisition & Use L13‐16, E4 L.3.5c 250‐259 1‐2

Performance Lesson 4 – Context and Word Relationships* L.3.4a‐c. L.3.5a‐c 260‐264 3

Unscheduled Lessons – The following lessons have not been scheduled. They teach tested s

tandards and should be taught prior to testing.

Because they are conventions lessons, they may be used to support writing development.

These stan

dards a

re assessed in

Enga

ge NY Mod

ules 2A, 3A, & 3B Spelling L1‐4, E1

L.3.2c 26‐35 1‐2

Spelling L5‐8, E2 L.3.2d 36‐45 1‐2

Capitalization L1‐4, E1 L.3.2a, b, c 52‐61 1‐2



Performance Lesson 1 – Writing an Autobiography* L.3.2a 82‐84 3

Punctuation L1‐4, E1 L.3.2b, c, d 90‐99 1‐2



Performance Lesson 2 – Envelope and Friendly Letter* L.3.2b, c, d 120‐122 3

Updated 3/27/2014 ELA K‐5

Page 2 of 18

Priority Standard(s) 1. W 3.2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly.

a. Introduce a topic and group related information together; include illustrations when useful to aiding comprehension. b. Develop the topic with facts, definitions, and details. c. Use linking words and phrases (e.g., also, another, and, more, but) to connect ideas within categories of information. d. Provide a concluding statement or section.

Common Core Standards Plus Lessons Writing Lesson 9 (W.3.2a) – TE Page #: 458 Writing Lesson 10 (W.3.2a, W.3.2b) – TE Page #: 460 Writing Lesson 11 (W.3.2a, W.3.2b, W.3.2d) – TE Page #: 462 Writing Lesson 12 (W.3.2a, W.3.2b, W.3.2d) – TE Page #: 464 Writing Evaluation 3 (W.3.2a, W.3.2b, W.3.2d) – TE Page #: 466

Writing Lesson 13 (W.3.2a, W.3.2b, W.3.2c, W.3.2d) – TE Page #: 468 Writing Lesson 14 (W.3.2a, W.3.2b, W.3.2c, W.3.2d) – TE Page #: 470 Writing Lesson 15 (W.3.2a, W.3.2b, W.3.2c, W.3.2d) – TE Page #: 472 Writing Lesson 16 (W.3.2a, W.3.2b, W.3.2c, W.3.2d) – TE Page #: 474 Writing Evaluation 4 (W.3.2a, W.3.2b, W.3.2c, W.3.2d) – TE Page #: 476

Writing Performance Task #11 (W.3.2) – TE Page #: 478 2. RI 3.1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as a basis for the answers. Common Core Standards Plus Lessons

Reading Informational Text Lesson 1 (RI.3.1, RI.3.3) – TE Page #: 360 Reading Informational Text Lesson 2 (RI.3.1, RI.3.3) – TE Page #: 362 Reading Informational Text Lesson 3 (RI.3.1, RI.3.3) – TE Page #: 364 Reading Informational Text Lesson 4 (RI.3.1, RI.3.3) – TE Page #: 366 Reading Informational Text Evaluation 1 (RI.3.1, RI.3.3) – TE Page #: 368

3. RI 3.3 Describe the relationship between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text, using language that pertains to time, sequence, and cause/effect. Common Core Standards Plus Lessons Reading Informational Text Performance Task #7 (RI.3.1, RI.3.3) – TE Page #: 370

4. SL 3.4 Report on a topic or text, tell a story, or recount an experience with appropriate facts and relevant, descriptive details, speaking clearly at an understandable pace.

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District Created Unit


See the next 7 pages for an index that lists ALL of our

Language Arts Grade 8 Lessons.

This includes 34 weeks of daily lessons and evaluations, 13 performance tasks, and 3 integrated projects.

Please note - the lesson index

is organized by standard.

LESSONS DO NOT NEED TO

BE TAUGHT IN THE INDEX ORDER.

We’l l even suggest a lesson sequence

that works best for your school.


Common Core Standards Plus – Language Arts – Grade 8

Strand Lesson Focus Standard(s)

Read

ing Literature

(Reading

Lite

rature Stand

ards: R

L.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.5, RL.8.6)

Text for Lessons 1‐15 and Evaluations 1‐3: The Magic Bonbons by Frank L. Baum

1 Text Evidence

RL.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

2 Text Evidence

3 Text Evidence

4 Text Evidence

E1 Evaluation – Text Evidence

5 Plot and Character RL.8.3: Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision. 6 Plot and Character

7 Point of View RL.8.6: Analyze how differences in the points of view of the characters and the audience or reader create such effects as suspense or humor. 8 Point of View

E2 Evaluation – Plot, Character, Point of View RL.8.3, RL.8.6

9 Word Meanings RL.8.4: Determine the meaning of words & phrases used in a text, including figurative & connotative meanings; analyze the impact of specific word choices on meaning & tone, including analogies/allusions to other texts.

10 Word Meanings

11 Summary RL.8.2: Determine a theme/central idea of a text; analyze its development over the course of the text, including its relationship to the characters, setting, plot; provide an objective summary. 12 Summary

E3 Evaluation – Word Meaning and Summary RL.8.2, RL.8.4

13 Theme

RL.8.2 14 Theme

15 Theme

16 Plot/Character RL.8.3

E4 Evaluation – Theme, Plot, Character RL.8.2, RL.8.3

17 Plot and Character RL.8.3

18 Theme

RL.8.2 19 Theme

20 Theme

E5 Evaluation – Theme, Plot, Character RL.8.2, RL.8.3

P12 Elements of Literature RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.6 Text for Lessons 21‐28, Evaluations 6‐7 – Annabel Lee

21 Text Evidence RL.8.1

22 Word Meaning in Text RL.8.4

23 Text Evidence RL.8.1

24 Word Meaning in Text RL.8.4

E6 Evaluation – Text Evidence and Word Meaning RL.8.1, RL.8.4

Text for Lessons 25‐28, Evaluation 7 – Perfect Woman

25 Poem Structure and Meaning

RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.




E7 Evaluation – Poem Structure and Meaning

P13 Poetry Study RL.1, RL.8.4, RL.8.5

Common Core Standards Plus - LA Grade 8 Lesson Index

Less

ons

provided

as

samples

. S

ee p

ages

18-39.


Common Core Standards Plus - LA Grade 8 Lesson IndexCommon Core Standards Plus – Language Arts – Grade 8


Read

ing Inform

ationa

l Text

(Reading

Inform

ational Text S

tand

ards: R

I.8.1, R

I.8.2, R

I.8.3, R

I.8.4, R

I.8.5, R

I.8.6, R

I.8.8)

1 Textual Evidence

RI.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

2 Textual Evidence

3 Textual Evidence

4 Textual Evidence

E1 Evaluation – Textual Evidence

5 Central Idea

RI.8.2: Determine a central idea of a text and analyze its development over the course of the text, including its relationship to supporting ideas; provide an objective summary of the text.

6 Central Idea

7 Summary

8 Summary

E2 Evaluation – Central Idea & Objective Summary

Text for Lessons 12,13, 17 and Evaluation 3: Susan B. Anthony Speech

9 Text Structure: Paragraph

RI.8.5: Analyze in detail the structure of a specific paragraph in a text, including the role of particular sentences in developing and refining a key concept.




E3 Evaluation – Text Structure: Paragraph

P2 Theodore Roosevelt and the Natural World RI.8.1, RI.8.2, RI.8.5

13 Trace and Evaluate Arguments

RI.8.8: Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is sound and the evidence is relevant and sufficient; recognize when irrelevant evidence is introduced.




E4 Evaluation – Trace and Evaluate Arguments

17 Author’s Purpose and Point of View

RI.8.6: Determine an author’s point of view or purpose in a text and analyze how the author acknowledges and responds to conflicting evidence or viewpoints.




E5 Evaluation – Author’s Purpose & Point of View

21 Connections

RI.8.3: Analyze how a text makes connections among and distinctions between individuals, ideas, or events (e.g., through comparisons, analogies, or categories).

22 Connections

23 Distinctions

24 Distinctions

E6 Evaluation – Connections and Distinctions

25 Word Meaning

RI.8.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts.

26 Word Choice and Tone

27 Word Choice and Tone

28 Allusions

E7 Evaluation – Word Choice, Meaning, Tone, Allusions

P3 The Square Deal RI.8.3, RI.8.4, RI.8.6, RI.8.8 Less

ons

provided

as

samples

. S

ee p

ages

18-39.





Writing

(Writing Standards: W

.8.1, W

.8.1a‐e, W

.8.2, W

.8.2a‐f, W.8.3, W

.8.3a‐e)

Argument Writing 1 Make a Plan from a Prompt W.8.1: Write arguments to support claims with clear reasons and

relevant evidence.

2 Writing an Introduction W.8.1a: Introduce claim(s), acknowledge and distinguish the claim(s) from alternate or opposing claims, and organize the reasons and evidence logically.

3 Support with Logic and Evidence W.8.1b: Support claim(s) with logical reasoning and relevant evidence, using accurate, credible sources and demonstrating an understanding of the topic or text. 4 Support with Logic and Evidence

E1 Evaluation – Argument Self Evaluation W.8.1, W.8.1a, W.8.1b

5 Writing Conclusions W.8.1e: Provide a concluding statement or section that follows from and supports the argument presented.

6 Clarifying Claims and Counterclaims W.8.1c: Use words, phrases, and clauses to create cohesion and clarify the relationships among claim(s), counterclaims, reasons, and evidence.

7 Establish and Maintain Formal Style W.8.1d: Establish and maintain a formal style.

8 Clarifying and Establishing an Essay W.8.1, W.8.1c, W.8.1d

E2 Evaluation – Self‐Check and Peer Review W.8.1, W.8.1c, W.8.1d, W.8.1e

P6 Internet Use W.8.1, W.8.1a, W.8.1b, W.8.1c, W.8.1d, W.8.1e

Informative/Explanatory Writing

9 Study a Prompt and Make an Essay Plan W.8.2: Write informative/explanatory texts to examine a topic & convey ideas, concepts, & information through the selection, organization, analysis of relevant content.

10 Writing Introductions Clearly

W.8.2a: Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, & information into broader categories; include formatting, graphics, & multimedia when useful to aiding comprehension.

11 Developing the Topic W.8.2b: Develop the topic with relevant, well‐‐‐ chosen facts, definitions, concrete details, quotations, or other information and examples. 12 Developing the Topic

E3 Evaluation – Self‐ Evaluation W.8.2, W.8.2a, W.8.2b

13 Using Appropriate Transitions W.8.2c: Use appropriate & varied transitions to create cohesion & clarify the relationships among ideas & concepts.

14 Writing a Conclusion W.8.2f: Provide a concluding statement/section that follows from and supports the information/explanation presented.

15 Explaining a Topic W.8.2d: Use precise language & domain‐specific vocabulary to inform about/explain the topic. W.8.2e: Establish and maintain a formal style. 16 Revising to Explain the Topic

E4 Evaluation – Self‐Check and Peer Review W.8.2c, W.8.2d, W.8.2e, W.8.2f

P7 Supernatural Powers W.8.2, W.8.2a‐W.8.2f


Common Core Standards Plus - LA Grade 8 Lesson IndexCommon Core Standards Plus – Language Arts – Grade 8


Writing

(Writing Standards: W

.8.1, W

.8.1a‐e, W

.8.2, W

.8.2a‐f, W.8.3, W

.8.3a‐e)

Narrative Writing

17 Study a Prompt and Make a Plan W.8.3: Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well‐structured event sequences.

18 Drafting an Introduction

W.8.3, W.8.3a: Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

19 Writing with Well‐‐‐Structured Sequencing W.8.3b: Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters. 20 Using Dialogue to Develop Stories

E5 Evaluation – Narrative Self‐‐‐Evaluation W.8.3, W.8.3a, W.8.3b

21 Pacing and Description to Develop Events W.8.3b

22 Writing a Conclusion W.8.3e: Provide a conclusion that follows from and reflects on the narrated experiences or events.

23 Conveying Sequences W.8.3c: Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time‐frame or setting to another, and show the relationships among experiences and events.

24 Conveying Events W.8.3d: Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

E6 Evaluation –Self‐‐‐Check and Peer Review W.8.3, W.8.3b, W.8.3c, W.8.3d, W.8.3e

P8 Fairy Tale Villains W.8.3, W.8.3a‐W.8.3e




PERFORMANCE TASKS

Reading Literature Strand Lesson Lesson Title Standards

P12 Elements of Literature RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.6


Reading Informational Text Strand Lesson Lesson Title Standards


P3 The Square Deal RI.8.3, RI.8.4, RI.8.6, RI.8.8

Writing Strand Lesson Lesson Title Standards




Language Strand Lesson Lesson Title Standards

P1 Writing Letters L.8.2, L.8.2a, L.8.2b

P4 Ashley’s Room L.8.1a

P5 Verb Mood and Verb Voice L.8.1b, L.8.1c, L.8.1d

P9 Using Roots and Context L.8.4, L.8.4a, L.8.4b

P10 What Does It Mean? L.8.5a, L.8.5b, L.8.5c

P11 Voice, Mood, and Effect L.8.3, L.8.3a

Perfom

ance

tas

k provided

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a sa

mple.

See

pag

es 41-51.




PERFORMANCE TASKS

Reading Literature Strand Lesson Lesson Title Standards

P12 Elements of Literature RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.6


Reading Informational Text Strand Lesson Lesson Title Standards


P3 The Square Deal RI.8.3, RI.8.4, RI.8.6, RI.8.8

Writing Strand Lesson Lesson Title Standards




Language Strand Lesson Lesson Title Standards









Langua

ge

Gram

mar and

Usage (L

anguage Standard L.8.1, L.8.1a‐L.8.1d

)

1 Gerunds

L.8.1a: Explain the function of verbals (gerunds, participles, infinitives) in general and their function in particular sentences.

2 Participles

3 Infinitives

4 Verbals – Gerunds, Participles, Infinitives

E1 Evaluation – Verbals


5 Indicative and Interrogative Mood

L.8.1c: Form and use verbs in the indicative, imperative, interrogative, conditional, and subjunctive mood.

6 Imperative Mood

7 Conditional Mood

8 Subjunctive Mood

E2 Evaluation – Verb Mood

9 Shifts in Mood L.8.1d: Recognize and correct inappropriate shifts in verb voice and mood.

10 Active and Passive Voice L.8.1b: Form and use verbs in the active and passive voice.

11 Active and Passive Voice

12 Shifts in Verb Voice L.8.1d

E3 Evaluation – Verb Voice and Mood L.8.1b, L.8.1d


Langua

ge

Capitalization

(Lang. Stan. L.8.2) 1 Titles

L.8.2: Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

2 Names of Organizations

3 Abbreviations, People’s Titles

4 Quotations

E1 Evaluation – Proper Nouns and Quotations

Langua

ge

Punctuation (Lang. Stand

. L.8.2, L.8.2a‐b) 1 Commas to Indicate a Pause/Break L.8.2a: Use punctuation (comma, ellipsis, dash) to indicate a

pause or break. 2 Commas to Indicate a Pause/Break

3 Ellipsis to Indicate Pause/Break/Omissions L.8.2a, L.8.2b: Use an ellipsis to indicate an omission.

4 Dashes to Indicate a Pause/Break L.8.2a E1 Evaluation – Identifying Correct Punctuation

5 Using Apostrophes

L.8.2

6 Using Apostrophes

7 Using Colons

8 Using Semicolons

E2 Evaluation – Sentence Evaluation


Langua

ge

Spelling

(Lang. Stand

. L.8.2, L.8.2c) 1 Ending Rules

L.8.2c: Spell Correctly.

2 Ending Rules

3 Homophones

4 Commonly Misspelled Words

E1 Evaluation – Using Correct Spelling





Langua

ge

Spelling

(Lang. Stand

. L.8.2, L.8.2c)

5 Spelling Plural Nouns

L.8.2c

6 Adding Inflectional Endings

7 Inflectional Endings for Words Ending in y

8 Spelling Possessive Nouns

E2 Evaluation – Using Correct Spelling

Langua

ge

Know

ledg

e of Lan

guag

e (Lang. Stand

ard L.8.3a) 1 Emphasizing the Actor, Not Action

L.8.3a: Use verbs in the active and passive voice and in the conditional and subjunctive mood to achieve particular effects (e.g., emphasizing the actor or the action; expressing uncertainty or describing a state contrary to fact).

2 Emphasizing the Action, Not the Actor

3 Mood and Effect

4 Subjunctive Mood and Effect

E1 Evaluation – Voice, Mood, Effect


Langua

ge

Vocabu

lary Acquisition an

d Us

e (Language Standard L.8.4, L.8.4a‐‐‐b

, L.8.5, L.8.5a‐c)

1 Context Clues

L.8.4a: Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.

2 Multiple Meanings and Context



E1 Evaluation –Words in Context

5 Greek and Latin Roots

L.8.4b: Use common, grade‐‐‐ appropriate Greek or Latin affixes and roots as clues to the meaning of a word (e.g., precede, recede, secede).

6 Greek and Latin Roots

7 Greek Suffixes

8 Greek Suffixes

E2 Evaluation – Greek and Latin Roots


9 Figurative Language

L.8.5a: Interpret figures of speech (e.g., verbal irony, puns) in context.




E3 Evaluation – Figurative Language

13 Word Relationships – Analogies

L.8.5b: Use the relationship between particular words to better understand both words.




E4 Evaluation – Word Relationships – Analogies

17 Connotation/Denotation

L.8.5c: Distinguish among the connotations (associations) of words with similar denotations (definitions) (e.g., bullheaded, willful, firm, persistent, resolute).




E5 Evaluation – Connotation/Denotation





(Lan

g. Stand

. L.8.3, L.8.3a)

INTEGRATED PROJECTS Integrated Project # 1: In the Eye of the Beholder…

Reading Informational Text Standards Addressed: RI.8.1, RI.8.2, RI.8.3, RI.8.4, RI.8.5, RI.8.6, RI.8.8, RI.8.9, RI.8.10

Writing Standards Addressed: W.8.1, W.8.1a‐W.8.1e, W.8.4, W.8.5, W.8.7, W.8.8, W.8.9, W.8.9b, W.8.10

Speaking & Listening Standards Addressed: SL.8.1, SL.8.1a, SL.8.1b, SL.8.1c, SL.8.1d, SL.8.3, SL.8.6

Language Standards Addressed: L.8.1, L.8.2, L.8.3, L.8.4, L.8.5, L.8.6

Prerequisite Common Core Standards Plus Strands: Capitalization, Punctuation, Reading Informational Text.

Product Objective: An analysis of quotes and documents, a written counterargument to an argument set forth in a historical document, and a class discussion to answer the question, How does having different standards and different laws for portions of the population impede progress for everyone?

Overview: The students will analyze quotes about freedom and documents regarding slavery and the treatment of slaves and freedmen prior to the Civil War to gain a perspective on how point of view, purpose, and historical perspective affects what is published and accepted in society. They will consider how the laws and perceptions of people in the early nineteenth century influenced the disproportionate number of prisoners who were part of the colored population. They will use all of this information to write a counterargument to the argument for interference on behalf of the degradation of the colored population. They will gather evidence to participate in a class discussion to answer the question, How does having different standards and different laws for portions of the population impede progress for everyone? Since this is a learning activity, all components will be completed in class.

Integrated Project # 2: Ur Gr8, LOL! Writing Standards Addressed:

W.8.1, W.8.1a‐W.8.1e, W.8.2, W.8.2a‐W.8.2f, W.8.4, W.8.5, W.8.6, W.8.7, W.8.8, W.8.10 Speaking & Listening Standards Addressed:

SL.8.1, SL.8.1a, SL.8.1b, SL.8.1c, SL.8.1d, SL.8.2, SL.8.4, SL.8.6 Language Standards Addressed:

L.8.1, L.8.1a‐L.8.1d, L.8.2, L.8.2c, L.8.3, L.8.4, L.8.5, L.8.6 Prerequisite Common Core Standards Plus Strands: Grammar and Usage, Spelling, and Writing

Product Objective: An informative/explanatory essay explaining the purpose of grammar, usage, and spelling conventions and the purpose of text‐‐‐speak. An argument essay to support their claim about whether traditional grammar, usage, and spelling conventions should be taught and learned or not.

Project Description: The students will begin by writing a note to a friend about school. They will then rewrite the note in text‐‐‐speak. They will use this exercise to analyze and explain the purpose of grammar, usage, and spelling and the purpose of text‐‐‐speak in an informative/explanatory essay. They will discuss the merits of traditional writing and text‐‐‐speak to prepare to write an argument essay to support their claim for teaching and learning traditional grammar, usage, and spelling conventions or not. Since this is a learning activity, all components will be completed in class.

Integrated Project # 3: What a Novel Idea! Reading Literature Standards Addressed:

RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.6, RL.8.9, RL.8.10 Writing Standards Addressed:

W.8.4, W.8.5, W.8.7, W.8.9, W.8.9a, W.8.10 Speaking & Listening Standards Addressed:

SL.8.1, SL.8.1a, SL.8.1b, SL.8.1c, SL.8.1d, SL.8.6 Language Standards Addressed:

L.8.1, L.8.2, L.8.3, L.8.3a, L.8.4, L.8.4‐c, L.8.5, L.8.5a‐c,L.8.6 Prerequisite Common Core Standards Plus Strands: Vocabulary Acquisition & Use, Knowledge of Language, Reading Literature

Product Objective: A reading group guide for a novel.

Overview: The students will read a novel and write a reading group guide that others could use to guide their reading of the novel. They will identify the key elements, point of view, vocabulary, and plot events that are essential to understand the novel. Students will trade novels and guides and analyze whether the guide was helpful. Since this is a learning activity, all components will be completed in class.

Projec

t provided

as

a sa

mple. S

ee p

ages

53-69.


15-20 Minute Daily Lessons and Weekly Evaluations (Short Answer – Constructed and Selected Response)

Students Learn Essential Common Core Knowledge

• DirectInstructionlessonswrittendirectlytotheCommonCore

• TeachCommonCorecontentandconceptswithhighlevelacademicvocabulary

Language Arts Grade 8 includes 136 Daily Lessons and34 Weekly Evaluations

Designed to be overtly

taught, not assigned.


Sample lessons are on pages 18-25 & 28-37. Sample evaluations are on pages 26-27 & 38-39.

“Standards Plus

makes me think.”

- Student, Rex Bell Elementary

Want to see more lessons?

Call 1-877-505-9152 to schedule a 20-min

ute

meeting to review a complete Teacher

Edition.


Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence Lesson: #21 Reading Literature Standard: RL.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Lesson Objective: Students will cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Introduction: “This week we will study poetry. We will read ‘Annabel Lee’ by Poe. We will analyze different aspects of the poem, such as the poem’s speaker (narrator or voice) and tone (author’s attitude toward the subject or the audience) and find textual support for the analysis.”

Instruction: “To analyze a poem, readers examine the text closely looking for meaning. The reader may determine meaning from explicit text clues, or the reader may need to infer the meaning. Explicit text clues are clearly written and the meaning is defined by the text. To make inferences, we use the information given in the poem and our own thoughts and understanding. To support inferences, look for lines that provide evidence for support. For example, to prove that a poem is about nature, find words and images that relate to the outdoors. If a poem’s author mentions the beauty of a babbling brook in one line, and then in the next line, the speaker states that he longs to be outside in nature instead of trapped in his office, and the second line is a stronger example of the theme of nature because it makes a direct statement – it’s not just creating an image that is related. Today you will find the strongest text examples that support an analysis of speaker and tone.” Ask students to get out a highlighter or pencil.

Guided Practice: Read the poem and directions aloud. Model with the following steps: Read the first statement aloud. Return to the passage together to find text examples to support the statement. Reread stanza 2 and highlight or underline “we loved with a love that was more than love” as an example, then direct students to reread the rest of the poem silently looking for more support. After a few minutes, ask “How do we know the speaker thought their love was special? (Elicit responses. See answers. Record together on the lines provided.) Which piece of evidence that we recorded is the strongest? (Elicit responses. Prompt students to explain why it is the strongest. Together, write a star next to it.) Now you will continue working on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently.

Review: After a few minutes, review support together. Ask students to explain how they know that the evidence they starred is the strongest. Closure: “Good readers support the analysis of a poem with strong text evidence.” Answers: Answers may vary.

1. Line 9- their love was more than love’; 11-12- even angels coveted their love; 21-22 angels not as happy as their love; 27-29 their love stronger than any others’ 2. Line 15- chilling; 19- shut her up in a grave; 26- chilling and killing; 32- dissever; 34-37- longing for her; 38-41- dies with her.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence Lesson: #21 Reading Literature Standard: RL.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Directions: Read the poem. Next read the numbered statements about the poem made below. Cite 2-3 examples of textual evidence to support each statement and write them on the lines. Put a star next to the strongest text support. Be prepared to explain why you chose it as the strongest support.

Annabel Lee By Edgar Allan Poe

1. The speaker believes the love he shared with Annabel was special.

___________________________________________________________________

___________________________________________________________________

___________________________________________________________________

2. The tone of the poem is mournful.

___________________________________________________________________

___________________________________________________________________

___________________________________________________________________

1It was many and many a year ago, 2In a kingdom by the sea, 3That a maiden there lived whom you may know 4By the name of ANNABEL LEE; 5And this maiden she lived with no other thought 6Than to love and be loved by me. 7I was a child and she was a child, 8In this kingdom by the sea; 9But we loved with a love that was more than love- 10I and my Annabel Lee; 11With a love that the winged seraphs of heaven 12Coveted her and me. 13And this was the reason that, long ago, 14In this kingdom by the sea, 15A wind blew out of a cloud, chilling 16My beautiful Annabel Lee; 17So that her highborn kinsman came 18And bore her away from me, 19To shut her up in a sepulchre 20In this kingdom by the sea.

21The angels, not half so happy in heaven, 22Went envying her and me- 23Yes!- that was the reason (as all men know, 24In this kingdom by the sea) 25That the wind came out of the cloud by night, 26Chilling and killing my Annabel Lee. 27But our love it was stronger by far than the love 28Of those who were older than we- 29Of many far wiser than we- 30And neither the angels in heaven above, 31Nor the demons down under the sea, 32Can ever dissever my soul from the soul 33Of the beautiful Annabel Lee. 34For the moon never beams without bringing me dreams 35Of the beautiful Annabel Lee; 36And the stars never rise but I feel the bright eyes 37Of the beautiful Annabel Lee; 38And so, all the night-tide, I lie down by the side 39Of my darling- my darling- my life and my bride, 40In the sepulchre there by the sea, 41In her tomb by the sounding sea.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Word Meaning in Text Lesson: #22 Reading Literature Standard: RL.8.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone, including analogies or allusions to other texts. Lesson Objective: Students will determine the meaning of words and phrases in a text and analyze the impact of word choice on meaning and tone. Introduction: “Yesterday we found evidence to support text analysis in a poem. Another important reading skill is finding word meaning and tone (author’s attitude toward the subject) created by the author’s word choices. Today we’ll focus on determining the impact or specific word choice on the tone in ‘Annabel Lee’ by Poe.” Instruction: “The words an author chooses to use in a story create its meaning and tone. The tone the author uses shows his or her attitude toward a subject. An author communicates a certain tone by choosing words with meanings and connotations that will communicate a specific feeling to the reader. Connotations are additional meanings connected to a word besides its literal definition. The words an author includes in a story can have positive, negative, or neutral connotations. You can determine the tone of a story by focusing on the important words and think about what pictures or feelings they evoke in you. Let’s practice what we have learned.” Guided Practice: Project the Student Page and read the directions aloud. “Let’s do the first question together. Notice the first underlined word, love. Think about what connotations this word has for you (Pause. Ask students to share what comes to mind.) Most likely, it makes you think of togetherness, comfort, and happiness. The connotation for this word is usually positive. Before you write positive down on the line, think about your response to the other underlined words in the paragraph, then record your answer. Now you will continue working on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently. Review: After several minutes, review answers. Ask students to support their answers by referencing the text. Closure: “Pay special attention to an author’s word choice to understand the meaning and tone of a poem.” Answers: Answers will vary.

1. Stanza #1- Positive: about love and angels; 2. Stanza #2- Negative: about cold, removal, and death; 3. Author focuses on showing how deep their love was and then how it was ripped away.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Word Meaning in Text Lesson: #22 Reading Literature Standard: RL.8.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone, including analogies or allusions to other texts. Directions: Read the following stanzas, paying special attention to the connotations associated with the underlined words. Then respond to the questions below. 7I was a child and she was a child, 8In this kingdom by the sea; 9But we loved with a love that was more than love- 10I and my Annabel Lee; 11With a love that the winged seraphs of heaven 12Coveted her and me. 13And this was the reason that, long ago, 14In this kingdom by the sea, 15A wind blew out of a cloud, chilling 16My beautiful Annabel Lee; 17So that her highborn kinsman came 18And bore her away from me, 19To shut her up in a sepulchre 20In this kingdom by the sea. Excerpt from Annabel Lee by Edgar Allan Poe

1. Read the first stanza, paying attention to the underlined words. Do positive, negative, or neutral connotations come to mind? _____________________ Why?_____________________________________________________ _________________________________________________________ _________________________________________________________

2. Read the second stanza, paying attention to the underlined words. What kinds of connotations come to mind? __________________________________ Why?_____________________________________________________ _________________________________________________________ _________________________________________________________

3. How does the author change the tone from the first stanza to the next? _________________________________________________________ _________________________________________________________ _________________________________________________________

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence Lesson: #23 Reading Literature Standard: RL.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Lesson Objective: Students will cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Introduction: “Today we will read the beginning of a poem called ‘My Old Football’ by John Milton Hayes. We will analyze different aspects of the poem such as the poem’s speaker and tone and find textual support for the analysis.” Instruction: “To analyze a poem, readers examine the text closely looking for meaning. An explicit text clue is information the author puts right there in the text. When analyzing a poem, we show our understanding of its topic by finding explicit text clues or specific evidence for support. To make inferences, we use the information given in the poem and our own thinking. To support our inferences, we look for lines that act as clues. Use details that offer the strongest support for your analysis. Today you will look for the strongest text examples that support an analysis of speaker and tone.” Ask students to get out a highlighter or pencil. Guided Practice: “Let’s read the poem excerpt and directions together. (Model the steps) Read statement 1 aloud and then, return to the passage to find text examples to support the statement. Now reread to line 3 and highlight or underline ‘…of all your treasures rare, there is nothing to compare…’ as an example. Reread the rest silently, and look for more support. (Pause for a few minutes) How do we know the speaker loved his football? (Elicit responses. See answers. Record together on the lines provided.) Which piece of evidence that we recorded is the strongest? (Elicit responses. Prompt students to explain why it is the strongest. Draw a star next to it together.) Now you will continue working on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently. Review: After a few minutes, review support together. Ask students to explain how they know that the evidence they starred is the strongest. Closure: “Good readers support the analysis of a poem with strong text evidence.” Answers: Answers may vary.

1. Line 3- nothing compares to it; 4- calls it his pal; 6- brings him happy thoughts; 12- he worshipped it; 2. Line 6- live again happier times; 8-9- speaks of passing of youth; 10- reminds him of meeting someone; 11- a present from the Dad

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence Lesson: #23 Reading Literature Standard: RL.8.1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. Directions: Read the poem. Next read the statements about the poem below. Cite 2-3 examples of textual evidence to support each statement. Then draw a star next to the strongest text support. Be prepared to explain why you chose this as the strongest support. My Old Football by John Milton Hayes (Part I) 1You can keep your antique silver and your statuettes of bronze, 2Your curios and tapestries so fine, 3But of all your treasures rare there is nothing to compare 4With this patched up, wornout football pal o’ mine. 5Just a patchedup wornout football, yet how it clings! 6I live again my happier days in thoughts that football brings. 7 It’s got a mouth, it’s got a tongue, 8And oft when we’re alone I fancy that it speaks 9To me of golden youth that’s flown. 10 It calls to mind our meeting, 11Twas a present from the Dad. 12I kicked it yet I worshipped it, 13 How strange a priest it had! 14And yet it jumped with pleasure 15When I punched it might and main:

Remember to highlight or underline the text supports you find.

1. The speaker loves his football.

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2. The tone of the poem is nostalgic (bittersweet longing for things of the past).

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Word Meaning in Text Lesson: #24 Reading Literature Standard: RL.8.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone, including analogies or allusions to other texts. Lesson Objective: Students will determine the meaning of words and phrases in a text and analyze the impact of word choice on meaning and tone. Introduction: “Yesterday we found evidence to support text analysis. Another important reading skill is finding word meaning and the tone (author’s attitude toward the subject) created by the author’s word choice. Today we’ll focus on determining figurative word meaning and tone in ‘My Old Football.’” Instruction: “What can you do when you encounter unknown words? (Ignore them and read on, use a dictionary, or try to make an educated guess about meaning based on the surrounding words in the same sentence or paragraph.) To analyze the impact of special word choice on meaning and tone, follow these steps:

1. Ask yourself if the word is literal or figurative. Literal language is intended to mean exactly what it says. Figurative language creates an image in the reader’s mind that appeals to the senses.

2. Remind yourself that the words an author chooses to use in a story create its meaning and tone. To understand what we read, we have to consider the connotations (additional meanings connected to a word besides its literal definition) associated with the words the author uses. Words can have positive, negative, or neutral connotations that create the overall tone of the text.

Now we will practice what we have learned.” Guided Practice: Project the Student Page. Reread Part I of the poem from yesterday’s lesson. Then read Part II and directions. “We will do some items together as an example. The author uses personification often in this poem to help us understand his subject. (Pose question 1. Elicit responses. See key. Record together.) Now let’s start question 3 together. A humorous tone is created by words and images that make you laugh or see things in contrasting ways. Let’s reread until we find words that create a humorous image. (Reread aloud. Stop at Line 17. Record ‘blown up and punched again’ on the line together.) Now you will finish the rest of the questions on your own.” Remind students to highlight or underline text support. Independent Practice: Review the directions. Monitor, prompt, and praise students as they work independently. Review: After several minutes, review the answers. Closure: “Pay attention to an author’s word choice to find meaning and tone in the story.” Answers: Answers will vary.

1. A depressed person. 2. A rule-breaking person. 3. Line 17- punched again; Lines 26-27- full of bounce no matter how cussed; Lines 30-31- misunderstood by women, never thought a catch

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Word Meaning in Text Lesson: #24 Reading Literature Standard: RL.8.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone, including analogies or allusions to other texts. Directions: Read the text below and answer the questions about figurative language and tone that follow. My Old Football by John Milton Hayes (Part 2)

16And when it had the dumps 17It got blown up and punched again. 18It’s lived its life; 19It’s played the game; 20It’s had its rise and fall, 21There’s history in the wrinkles of that wornout football. 22Caresses rarely came its way in babyhood ’twas tanned. 23It’s been well oiled, and yet it’s quite teetotal, understand. 24It’s gone the pace, and sometimes it’s been absolutely bust, 25And yet ’twas always full of bounce, 26No matter how ’twas cussed. 27He’s broken many rules and oft has wandered out of bounds, 28He’s joined in shooting parties 29Over other people’s grounds. 30Misunderstood by women, 31He was never thought a catch, 32Yet he was never happier 33Than when bringing off a match.

Follow these steps: 1. Ask yourself if the word is literal or figurative. Literal language is intended to mean

exactly what it says. Figurative language creates an image in the reader’s mind that appeals to the senses.

2. Remind yourself that the words an author chooses to use in a story create its meaning and tone. To understand what we read, we have to consider the connotations (additional meanings connected to a word besides its literal definition) associated with the words the author uses. Words can have positive, negative, or neutral connotations that create the overall tone of the text.

1. What is the deflated football compared to in the underlined part of line 16? __________________________________________________________

2. What is the football compared to in the underlined part of line 27? __________________________________________________________

3. Which words and phrases in this part of the poem create a humorous tone? Find two examples and write them on the lines below. ______________________________________________________________ ____________________________________________________________________________________________________________________________

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence/Word Meaning in Text Evaluation: #6 The weekly evaluation may be used in the following ways:

As a formative assessment of the students’ progress. As an additional opportunity to reinforce the vocabulary, concepts, and

knowledge presented during the week of instruction.

Standard: RL8.1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. RL.8.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts. Procedure: Read the directions aloud and ensure that students understand how to respond to each item.

If you are using the weekly evaluation as a formative assessment, have the students complete the evaluation independently.

If you are using it to reinforce the week’s instruction, determine the items that will be completed as guided practice, and those that will be completed as independent practice.

Review: Review the correct answers with students as soon as they are finished. Answers: Answers will vary. Possible answers include:

1. (RL.8.1) Author compares football to a person who has played on the field and been abused or kicked about.

2. (RL.8.1, RL.8.4) Students should mention words like threat’ning, war, cross, grief, loss, but there are many negative words that come before that such as danger, foes, dead, crumpled.

3. (RL.8.1, RL.8.4) “…I seem to feel my football knows my grief and shares my loss” “…he tells me of that splendid charge… “…In life he loved our mutual chum” “…Pal o’mine” *Students should explain placement of star.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Text Evidence/Word Meaning in Text Evaluation: #6 Directions: Read the last part of “My Old Football” below. Then answer the questions that follow on the lines provided.

1He’s often been in danger 2Caught in nets that foes have spread, 3He’s even come to life again 4When all have called him dead. 5Started on the centre, 6And he’s acted on the square, 7To all parts of the compass 8He’s been bullied everywhere. 9His aims and his ambitious 10Were opposed by one and all, 11And yet he somehow reached his goal 12That plucky old football. 13When schooling days were ended 14I forgot him altogether, 15And ’midst the dusty years 16He lay a crumpled lump of leather. 17Then came the threat’ning voice of War, 18And games had little chance, 19My brother went to do his bit 20Out there somewhere in France. 21And when my brother wrote he said, 22‘Of all a Tommy’s joys, 23There’s none compares with football. 24Will you send one for the boys?’

25I sent not one but many, 26And my old one with the rest, 27I thought that football’s finished now, 28But no he stood the test. 29Behind the lines they kicked him 30As he’d never been kicked before. 31Till they busted him and sent him back 32A keepsake of the war. 33My brother lies out there in France, 34Beneath a simple cross, 35And I seem to feel my football knows my grief, 36And shares my loss. 37He tells me of that splendid charge, 38And then my brother’s fall. 39In life he loved our mutual chum 40That worn-out football. 41Oh you can keep your antique silver 42And your statuettes of bronze 43Your curios and tapestries so fine 44But of all your treasures rare 45There is nothing to compare 46With that patched-up worn-out football— 47Pal o’ mine

1. What does the author mean when he says, “Started on the centre, And he’s acted on the square, To all parts of the compass He’s been bullied everywhere”?

2. In this section of the poem, the tone changes to sadness. What words and phrases does the author use that create this tone? Cite at least two examples. ___________________________________________________________________

3-4. Cite two pieces of text evidence for the following statement about this section of the poem. Put a star next to the strongest piece of evidence. The speaker’s football was like a friend to him. ___________________________________________________________________

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature

Passage for Lessons 25-28 and Evaluation 7

Perfect Woman By Henry Wadsworth Longfellow

1 She was a phantom of delight 2 When first she gleam'd upon my sight; 3 A lovely apparition, sent 4 To be a moment's ornament; 5 Her eyes as stars of twilight fair; 6 Like twilight's, too, her dusky hair; 7 But all things else about her drawn 8 From May-time and the cheerful dawn; 9 A dancing shape, an image gay, 10 To haunt, to startle, and waylay.

11 I saw her upon nearer view, 12 A Spirit, yet a Woman too! 13 Her household motions light and free, 14 And steps of virgin liberty; 15 A countenance in which did meet 16 Sweet records, promises as sweet; 17 A creature not too bright or good 18 For human nature's daily food; 19 For transient sorrows, simple wiles, 20 Praise, blame, love, kisses, tears, and smiles.

21 And now I see with eye serene 22 The very pulse of the machine; 23 A being breathing thoughtful breath, 24 A traveller between life and death; 25 The reason firm, the temperate will, 26 Endurance, foresight, strength, and skill; 27 A perfect Woman, nobly plann'd, 28 To warn, to comfort, and command; 29 And yet a Spirit still, and bright 30 With something of angelic light.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #25 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Lesson Objective: Students will analyze the structure, meaning, and style of a poem.

Introduction: “Last week we studied word meaning and tone in poetry. This week we will study how poets use structure to create meaning and style. Today we will analyze meaning and style in a poem and build to comparing its structure to another poem later this week.”

Instruction: “To analyze how the structure of a poem contributes to its meaning and style, read the poem at least twice and answer the following questions to establish meaning and style.

1. Form: Is it lyric? (Personal, introspective, one speaker, expresses thoughts or feelings) Is it narrative? (Tells a story with a plot) Is it descriptive? (Describes world surrounding speaker, elaborate imagery and adjectives, emotional and outward focused) Is it free verse? (No set meter or rhyme pattern)

2. Meaning: Who is the speaker? What is the setting? What is the subject? (What happens or what is it about?) What images, objects, or emotions are there? What point or theme is conveyed through the poem?

3. Style: How is it organized? (How many stanzas) What rhythm (Created by repetition, line length, and pauses) and meter (Pattern of stressed and unstressed syllables) are present? What is the rhyme scheme?

Now you will practice analyzing a poem using these questions.”

Guided Practice: Project the Student Page. Read the directions aloud. Direct students to reread poem silently. “Let’s analyze the meaning and style of the poem Annabel Lee together.” Pose questions above. Elicit responses. See key. Record best answers together on the chart.

Independent Practice: Due to the nature of this week’s lessons, there will be no Independent Practice until the last two days.

Review: Once you have completed the chart together, reread the poem and call on students to share aloud what they wrote in each box of the column. Correct misconceptions.

Closure: “Poets combine words, images, and emotions to convey a point. To find the point, we have to break it all down and then pull it all together.”

Answers: Form: narrative; Meaning: speaker: man in love; setting: kingdom by the sea in speaker’s youth; subject: speaker falls in love, woman dies, he dies with her spiritually and continues loving; images: winged seraphs, wind blowing clouds, kinsman coming, sepulchre, wind chilling and killing, moon beaming, stars rising; emotions: sadness, longing; point/theme: love can start early and last in death; Style: Six stanzas with varying numbers of lines, pairs of long and short lines; long lines rhyme sometimes, short lines always rhyme, heavy internal rhyme in last stanza; repeats words and phrases to create mournful effect, repeats the L sound; meter varies between lines of three and four feet of anapests (da da DUM-unstressed, unstressed, stressed).

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #25 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Directions: Reread “Annabel Lee” located on pg. 268. Then fill in the left side of the chart using the questions provided by the teacher. You will finish completing the chart during lesson #26.

Annabel Lee Perfect Woman Form (type of poem)

Meaning (speaker, setting, subject, images, emotions, theme)

Style (rhythm, rhyme, meter)

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #26 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Lesson Objective: Students will analyze the structure, meaning, and style of a poem.

Introduction: “Yesterday we analyzed the meaning and style of ‘Annabel Lee.’ Today we will analyze a poem about another woman. We will compare these poems’ structures in the next lesson.” Instruction: “To analyze how the structure of a poem contributes to its meaning and style, read the poem at least twice and answer the following questions to establish meaning and style.

1. Form: Lyric? Narrative? Descriptive? Free Verse? Object? 2. Meaning: Who is the speaker? What is the setting? What is the subject? (What

happens or what is it about?) What images, objects, or emotions are there? What point or theme is conveyed through the poem?

3. Style: How is it organized? What rhythm and meter are present? What is the rhyme scheme?

Now you will practice analyzing a poem using these questions.” Note: Use the same chart as you used in the last lesson. Guided Practice: Project the Student Page. Read directions and poem aloud. Direct students to reread the poem silently. “Let’s analyze the poem ‘Perfect Woman’ together.” Pose questions above. Elicit responses. See key. Record best answers together on the chart used in the last lesson. Independent Practice: Due to the nature of this week’s lessons, there will be no Independent Practice until the last two days. Review: Once you have completed the chart together, reread the poem and call on students to share aloud what they wrote in each box of the column. Correct misconceptions. Closure: “Poets combine words, images, and emotions to convey a point. To find the point, we have to break it all down and then pull it all together.” Answers: Form: descriptive

Meaning: speaker: a person who admires a woman; setting: anytime, anywhere; subject: description of the speaker’s idea of a perfect woman; images: eyes-stars of twilight, dusky hair, dancing shape, motions light and free, pulse of the machine, angelic light; emotions: joyful; point/theme: a perfect woman is sweet, reasonable, strong, and spirited. Style: three stanzas of ten lines each; rhymes every pair of lines; repetition: the word Spirit, listing of ideas; meter: 8 syllables per line with alternating stresses.

Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #26 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Directions: Read “Perfect Woman” found on pg. 275. Then fill in the right side of the chart using the questions provided by the teacher. You will use the completed chart for the next lesson.




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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #26 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Directions: Read “Perfect Woman” found on pg. 275. Then fill in the right side of the chart using the questions provided by the teacher. You will use the completed chart for the next lesson.




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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #27 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Lesson Objective: Students will compare the structure of two poems. Introduction: “So far we analyzed the meaning and style of two different poems. Today we will compare the poems’ structures which are comprised of form, purpose, organization, and sound patterns.” Instruction: “To compare the poems’ structures, answer the following questions:

1. Form: How is the form of each poem similar? How is the purpose of each poem similar?

2. Structure - What is similar about the organization of lines and patterns of sound? (Consider rhythm, rhyme, meter, sound devices used.)

3. Effect: What is similar about the effect on the reader created by the form and structure of each poem?

Now you will practice what you have learned.” Guided Practice: Project Student Page. Read directions aloud. Direct students to locate poems and completed chart from last two lessons. “Let’s do the first question together. (Pose first question aloud. Elicit responses. Point out that Annabel Lee is the only poem that relates any pain, so A is incorrect. Both poems do involve angels, but angels don’t relate to the purpose, so B is incorrect. Only Annabel Lee expresses sadness, so C is incorrect. Both poems focus on a special woman, so D is correct.) Now you will continue to find similarities between the poems on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently. Review: After a few minutes, review answers. Closure: “A poem’s form, purpose, organization, and sound patterns can have an effect on its meaning and style.” Answers: 1. D

2. A 3. C 4. B

Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #27 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Directions: Locate chart and poems used in the last two lessons. Compare the structure of “Annabel Lee” found on pg. 268 and “Perfect Woman” found on pg. 275 by answering questions about form and purpose, organization and sound, and overall effect below. Circle the letter of the correct answer for each. 1. How are the purpose of “Annabel Lee” and the purpose of “Perfect Woman”

alike? A. Both poems discuss the pain of love. B. Both poems involve angels. C. Both poems express sadness. D. Both poems focus on a special woman.

2. What structural qualities do both poems share?

A. Both poems contain stanzas. B. Both poems tell a story. C. Both poems are free verse. D. Both poems repeat whole lines.

3. What sound qualities do both poems share?

A. Both poems repeat the “L” sound. B. Both poems rhyme every pair of lines. C. Both poems contain end rhyme. D. Both poems use many examples of internal rhyme.

4. How is each poem’s effect on the reader alike?

A. Both poems tell a complete story that satisfies the curiosity of the reader. B. Both poems describe a person in detail to help the reader visualize. C. Both poems use imagery to make the reader feel sad and forlorn. D. Both poems use imagery to make the reader feel joy and praise.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #27 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Directions: Locate chart and poems used in the last two lessons. Compare the structure of “Annabel Lee” found on pg. 268 and “Perfect Woman” found on pg. 275 by answering questions about form and purpose, organization and sound, and overall effect below. Circle the letter of the correct answer for each. 1. How are the purpose of “Annabel Lee” and the purpose of “Perfect Woman”

alike? A. Both poems discuss the pain of love. B. Both poems involve angels. C. Both poems express sadness. D. Both poems focus on a special woman.

2. What structural qualities do both poems share?

A. Both poems contain stanzas. B. Both poems tell a story. C. Both poems are free verse. D. Both poems repeat whole lines.

3. What sound qualities do both poems share?

A. Both poems repeat the “L” sound. B. Both poems rhyme every pair of lines. C. Both poems contain end rhyme. D. Both poems use many examples of internal rhyme.

4. How is each poem’s effect on the reader alike?

A. Both poems tell a complete story that satisfies the curiosity of the reader. B. Both poems describe a person in detail to help the reader visualize. C. Both poems use imagery to make the reader feel sad and forlorn. D. Both poems use imagery to make the reader feel joy and praise.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poem Structure and Meaning Lesson: #28 Reading Literature Standard: RL.8.5: Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.

Lesson Objective: Students will contrast the structures of two poems. Introduction: “So far we analyzed the meaning and style of two different poems. Today we will contrast the poems’ structure.” Instruction: “To find the differences between two poems’ structures, answer the following questions.

1. Form: How is the form of each poem different? How is the purpose of each poem different?

2. Structure: What is different about the organization of lines and patterns of sound? (Consider rhythm, rhyme, meter, sound devices used).

3. Effect: What is different about the speaker’s feelings in each poem? How do the speaker’s feelings affect the reader?

Now you will practice what you have learned.”

Guided Practice: Project Student Page. Read directions aloud. Direct students to locate poems and completed chart. “Let’s do the first item together. (Pose item one aloud. Elicit responses. Point out that A.L. has meter, so it can’t be free verse; P.W. does not have all parts of the plot, so it isn’t narrative; A.L. does describe Annabel, but it tells a story more than it describes; and P.W. has a set rhyme scheme and rhythm, so it is not free verse. The best answer is B.) Now you will continue find differences between the poems on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently. Review: After a few minutes, review answers. Closure: “A poem’s form, purpose, organization, and sound patterns can have an effect on its meaning and style.”

Answer 1. B 2. A 3. B 4. A

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Lesson Objective: Students will contrast the structures of two poems. Introduction: “So far we analyzed the meaning and style of two different poems. Today we will contrast the poems’ structure.” Instruction: “To find the differences between two poems’ structures, answer the following questions.

1. Form: How is the form of each poem different? How is the purpose of each poem different?

2. Structure: What is different about the organization of lines and patterns of sound? (Consider rhythm, rhyme, meter, sound devices used).

3. Effect: What is different about the speaker’s feelings in each poem? How do the speaker’s feelings affect the reader?

Now you will practice what you have learned.”

Guided Practice: Project Student Page. Read directions aloud. Direct students to locate poems and completed chart. “Let’s do the first item together. (Pose item one aloud. Elicit responses. Point out that A.L. has meter, so it can’t be free verse; P.W. does not have all parts of the plot, so it isn’t narrative; A.L. does describe Annabel, but it tells a story more than it describes; and P.W. has a set rhyme scheme and rhythm, so it is not free verse. The best answer is B.) Now you will continue find differences between the poems on your own.” Independent Practice: Review the directions. Monitor, prompt, and praise students while they work independently. Review: After a few minutes, review answers. Closure: “A poem’s form, purpose, organization, and sound patterns can have an effect on its meaning and style.”

Answer 1. B 2. A 3. B 4. A


Directions: Locate chart and poems used this week. Contrast the structure of “Annabel Lee” found on pg. 268 and “Perfect Woman” found on pg. 275 by answering questions about form and purpose, organization and sound, and overall effect below. Circle the letter of the correct answer for each.

1. How is the form of “Annabel Lee” different from the form of “Perfect Woman”? A. “Annabel Lee” is a free verse poem; “Perfect Woman” is a narrative poem. B. “Annabel Lee” is a narrative poem; “Perfect Woman” is a descriptive poem. C. “Annabel Lee” is a descriptive poem; “Perfect Woman” is a free verse

poem. D. Both poems have the same form.

2. How is the purpose of the stanza change different between the two poems? A. The stanzas of “Annabel Lee” correspond to the parts of the plot; the

stanzas in “Perfect Woman”describe the woman at first glance and then with closer looks.

B. The stanzas of “Annabel Lee” describe each of her characteristics; the stanzas of “Perfect Woman” tell the different parts of the story.

C. The stanzas of “Annabel Lee” show multiple speakers’ perspectives; the stanzas of “Perfect Woman” describe her relationship with the speaker at different points.

D. Both poems’ stanza changes occur for the same reasons.

3. How does line length differ (creating different rhythms) in the two poems? A. “Annabel Lee” contains all long lines; “Perfect Woman” contains all short

lines. B. “Annabel Lee” alternates long and short lines; “Perfect Woman” has the

same line length throughout. C. “Annabel Lee” starts with long lines, ends with short; “Perfect Woman”

contains all long lines. D. Both poems have the same line length.

4. How are the speakers’ feelings different in the two poems? A. The speaker in “Annabel Lee” mourns; the speaker in “Perfect Woman” is

joyful. B. The speaker in “Annabel Lee” is in love; the speaker in “Perfect Woman” is

disappointed. C. The speaker in “Annabel Lee” laments; the speaker in “Perfect Woman” is

apathetic. D. Both speakers feel the same.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poetic Structure and Meaning Evaluation: #7 The weekly evaluation may be used in the following ways:



Standard: RL.8.5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Procedure: Read the directions aloud and ensure that students understand how to respond to each item.




1. (RL.8.5) A.L. uses a narrative form to tell the story of a man’s love for a woman beginning in youth and how it continued even after death. The author uses various line lengths, rhymes, and rhythms to create a mournful effect that communicates the extremes of love.

2. (RL.8.5) P.W. uses a descriptive form to communicate the speaker’s view of what the perfect woman is. It e

3. 4. mploys metaphors, imagery and lists of qualities, exact rhyme

scheme, line length, and syllable count to show the reader a joyful adoration of the woman.

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Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poetic Structure and Meaning Evaluation: #7 The weekly evaluation may be used in the following ways:



Standard: RL.8.5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style. Procedure: Read the directions aloud and ensure that students understand how to respond to each item.




1. (RL.8.5) A.L. uses a narrative form to tell the story of a man’s love for a woman beginning in youth and how it continued even after death. The author uses various line lengths, rhymes, and rhythms to create a mournful effect that communicates the extremes of love.

2. (RL.8.5) P.W. uses a descriptive form to communicate the speaker’s view of what the perfect woman is. It e

3. 4. mploys metaphors, imagery and lists of qualities, exact rhyme

scheme, line length, and syllable count to show the reader a joyful adoration of the woman.

Common Core Standards Plus® – Language Arts – Grade 8 Strand: Reading Literature Focus: Poetic Structure and Meaning Evaluation: #7 Directions: Locate this week’s student pages and the copy of each poem on pages 268 and 275. Answer the questions below in complete sentences.

1. How does the structure of “Annabel Lee” contribute to the development of its meaning (subject or theme)?

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2. How does the structure of “Perfect Woman” contribute to the development of its style?

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Sample Performance Task

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Performance TaskStudents Deepen and Apply Their Knowledge

• Appliesdailylessoncontentandconcepts

• Increasesstudentunderstanding

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Language Arts Grade 8 includes

13 Performance Tasks




Lesson Objective:Thestudentswillworkindividuallyorwithapartnertoreadpoemsandanalyzewhatthetextssayexplicitlyaswellasinferencesdrawnfromthetexts.Studentswilldeterminethemeaningofwordsandphrasesusedinthetext,includingfigurativeandconnotativemeanings.Theywillanalyzetheimpactofspecialwordchoicesonmeaningandtone,andtheywillanalyzeanalogiesorallusions.Studentswillcompareandcontrastthestructuresoftwopoemsandanalyzehowthedifferingstructurescontributetoeachpoem'smeaningandstyle.

Overview: StudentswillreviewCommonCoreStandardsPlusReadingLiteratureLesson21-28,E6-E7.

Students will:• Readapoemthroughatleasttwice.• Rereaditagain;stopfrequentlytoparaphraseandconsultfootnotestodeterminemeaning.• Usetextevidencetosupporttheiranalysis.• Determinewordmeaningandconnotationinthetext.• Analyzethemeaningandtonecreatedbycertainwordchoicesinthetexts,includingallusion

andanalogy.• Repeatstepsaboveforasecondpoem.• Compareandcontrastthestructuresofbothpoems.• Analyzehowthedifferingstructurescontributetoeachpoem'smeaningandstyle.

Standard Reference: RL.8.1:Citethetextualevidencethatmoststronglysupportsananalysisofwhatthetextsaysexplicitlyaswellasinferencesdrawnfromthetext.RL.8.4:Determinethemeaningofwordsandphrasesastheyareusedinatext,includingfigurativeandconnotativemeanings;analyzetheimpactofspecialwordchoicesonmeaningandtone,includinganalogiesorallusionstoothertexts.RL.8.5:Compareandcontrastthestructureoftwoormoretextsandanalyzehowthedifferingstructureofeachtextcontributestoitsmeaningandstyle.

Required Student Materials: • Student Pages: St. Ed. Pgs. 281-289• Lined paper • Highlighters

Common Core Standards Plus® – Language Arts – Grade 8Performance Task #13 – Strand: Reading Literature

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Guided Practice: (Required Student Materials: St. Ed. Pgs. 281-289) Therearesixdifferentsections,soteachersmaywanttobreakupthereviewandworkoverseveraldays.• Reviewhowtoidentifythesubject,setting,speaker,andformofapoem.• Reviewhowtoparaphraseandfindmeaninginapoem.• Reviewhowtofindexplicittextdetailsanddrawinferencestouseastextevidencetosupport

analysis.• Reviewhowtodeterminethemeaningandconnotationofwords,howtodeterminethetoneofa

textbasedonwordchoice,andhowandwhyauthorsuseallusionsandanalogies.• Reviewhowtofindimagery,objects,andemotionsandhowtodeterminethethemeofapoem.• Reviewhowtoidentifythestyleofthepoem(organization,rhythm,rhyme).• Reviewhowtocompareandcontrastthestructureoftwodifferentpoems.• Reviewhowtoanalyzetheeffectofanauthor’schoiceofstructureonmeaningandstyle.• Readanddiscussthepassagewithstudents(severaltimesifneeded).

Independent Practice: (Required Student Materials: St. Ed. Pgs. 281-289)• Reviewthedirectionswithstudents.Therearesixdifferentsections,soteachersmaywanttobreak

uptheworkoverseveraldays.• Remindstudentsto:

• Readthetextcarefully.• Usethestrategiestheyhavelearnedtoidentifytextevidencetosupporttheiranswers.

Review & Evaluation: • Option 1:Studentssharetheirresponseswithanotherstudentorgroup.Studentsmakeany

revisionsoradditionsbeforefinalizingtheirwork.• Option 2:Students(individualorgroups)presenttheirresponsestotheclass.• Option 3:Teachercollectsworkandevaluatesstudents’abilitytousetextevidencetosupporttheir

answers.


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Directions: Read the “The Ballad of Grizzly Gulch” aloud in sections, stopping to paraphrase and discuss its meaning and to review the footnotes. **It may be helpful to read the informational text passage, “Theodore Roosevelt and the Natural World,” in Performance Lesson #2 prior to reading the poem as it provides helpful historical background.

Part I. Analysis of Text Directions: Reread the poem and respond to the question below with a partner. Use your highlighter to mark text evidence that supports your response. Then, cite two pieces of text evidence to support your answer. Put a star next to the strongest piece of evidence. Be ready to discuss why it is the strongest.

1. Does the speaker in the poem support Theodore Roosevelt as president? How do you know?

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Part II. Word Meaning and Tone; Allusions

1. What words and phrases does the author use to convey a humorous, satirical tone? Cite at least two examples.

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2. What does the author mean when he says, the following?

“A flash, a bang, an ursine roar—The dready deed is done!”

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“The Constitution rides behind And the Big Stick rides before [5] (Which was a rule of precedent In the reign of Theodore).” ____________________________________________________________________________

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3. Determine the meanings of the underlined words as used in the text. Write the meanings next to the words on the lines below. Then note what kind of connotation is associated with each word: positive, negative, or neutral, and why.

a. dour __________________________________________________________

connotation:______________________________________________________

b. repartee _______________________________________________________

connotation:______________________________________________________

c. preach _________________________________________________________

connotation:______________________________________________________

d. spectacles ______________________________________________________

connotation:______________________________________________________

4. Give two examples of allusions in the poem. Explain the purpose of each. ____________________________________________________________________________

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Part III. Poetic Structure, Meaning, and Style

1. Describe the form of this poem. (e.g., lyric, narrative, ballad, free verse)

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2. Analyze the meaning of the poem as you answer the following questions. • Who is the speaker?

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• What is the setting? ___________________________________________________________________

• What is the subject? ___________________________________________________________________

• What are the images, objects, or conveyed emotions? ___________________________________________________________________

• What point or theme is conveyed through the poem? ___________________________________________________________________

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3. Analyze the style of the poem as you answer the following questions. • How is it organized (how many stanzas)?

___________________________________________________________________ • What rhythm (created by repetition, line length, and pauses) and meter (pattern of

stressed and unstressed syllables) are present? ___________________________________________________________________

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• What is the rhyme scheme? ___________________________________________________________________

4. Why do you think the poet chose this form and style? Explain. _________________________________________________________________________

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Poem #1: THE BALLAD OF GRIZZLY GULCH by Wallace Irwin

The rocks are rough, the trail is tough, The forest lies before,

As madly, madly to the hunt Rides good King Theodore

With woodsmen, plainsmen, journalists And kodaks [1] thirty-‐four.

The bob-‐cats howl, the panthers growl, "He sure is after us!"

As by his side lopes Bill, the Guide, A wicked-‐looking cuss—

"Chee-‐chee!" the little birds exclaim, "Ain't Teddy stren-‐oo-‐uss!"

Though dour the climb with slip and slime, King Ted he doesn't care,

Till, cracking peanuts on a rock, Behold, a Grizzly Bear!

King Theodore he shows his teeth, But he never turns a hair.

"Come hither, Court Photographer, "The genial monarch saith,

"Be quick to snap your picture-‐trap As I do yon Bear to death."

"Dee-‐lighted!" cries the smiling Bear, As he waits and holds his breath.

Then speaks the Court Biographer, And a handy guy is he,

"First let me wind my biograph, That the deed recorded be."

"A square deal [2]!" saith the patient Bear, With ready repartee.

And now doth mighty Theodore For slaughter raise his gun;

A flash, a bang, an ursine roar— The dready deed is done!

And now the kodaks thirty-‐four In chorus click as one.

The big brown bruin stricken falls And in his juices lies;

His blood is spent, yet deep content Beams from his limpid eyes.

"Congratulations, dear old pal!" He murmurs as he dies.

From Cripple Creek and Soda Springs, Gun Gulch and Gunnison [3]

A-‐foot, a-‐sock, the people flock To see that deed of gun;

And parents bring huge families To show what they have done.

In the damp corse stands Theodore And takes a hand of each,

As loud and long the happy throng Cries, "Speech!" again and "Speech!" Which pleaseth well King Theodore,

Whose practice is to preach.

"Good friends," he says, "lead outdoor lives And Fame you yet may see—

Just look at Lincoln, Washington, And great Napoleon B.;

And after that take off your hats And you may look at me!"

But as he speaks, a Messenger Cries, "Sire, a telegraft!"

The king up takes the wireless screed Which he opens fore and aft,

And reads: "The Venezuelan stew Is boiling over. TAFT." [4]

Then straight the good King Theodore In anger drops his gun

And turns his flashing spectacles Toward high-‐domed Washington.

"O tush!" he saith beneath his breath, "A man can't have no fun!"

Then comes a disappointed wail From every rock and tree."

Good-‐by, good-‐by!" the grizzlies cry And wring their handkerchee.

And a sad bob-‐cat exclaims, "O drat! He never shot at me!"

So backward, backward from the hunt The monarch lopes once more. The Constitution rides behind And the Big Stick rides before [5] (Which was a rule of precedent

In the reign of Theodore).

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[1] …Kodak: a camera

[2] …A square deal: a reference to Roosevelt’s program of the same name which focused on conservation of natural resources, control of corporations, and consumer protection; also to a phrase he used that meant the common man should be treated fairly no matter from what social and economic class he comes.

[3] …From Cripple Creek and Soda Springs, Gun Gulch and Gunnison: areas in Colorado and Idaho explored by Roosevelt and later made protected lands and forests.

[4] …The Venezuelan stew Is boiling over. TAFT: Roosevelt helped stop possible German intervention in Venezuela when President Castro refused to pay debts to England and Germany that resulted in a naval blockade. Taft became President after Roosevelt.

[5] …the Big Stick rides before: reference to a phrase used by Roosevelt to describe his foreign policy, “Speak softly and carry a big stick.”

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Part IV. Analysis of Text: “Chicago”

Directions: Read “Chicago” aloud in sections, stopping to paraphrase and discuss its meaning. Read it again and respond to the question below with a partner. Use your highlighter to mark text evidence that supports your response. Then, cite two pieces of text evidence to support your answer. Put a star next to the strongest piece of evidence. Be ready to discuss why it is the strongest.

1. Does the speaker like Chicago? Why or why not?

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Part V. Word Meaning and Tone; Analogies

1. What is the author’s tone in this poem? What words and phrases does he use to convey that tone? Cite at least two examples.

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2. What does the author mean when he says the following?

“Hog Butcher for the World, Tool Maker, Stacker of Wheat, Player with Railroads and the Nation’s Freight Handler”

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“…here is a tall slugger set vivid against the little soft cities…”

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3. Determine the meanings of the underlined words as used in the text. Write the meanings next to the words on the lines below. Then note what kind of connotation is associated with each word: positive, negative, or neutral.

a. brawling _______________________________________________________________

connotation: ______________________________________________________________

b. crooked ________________________________________________________________

connotation: ______________________________________________________________

c. sneer __________________________________________________________________

connotation: ______________________________________________________________

d. cunning ________________________________________________________________

connotation: ______________________________________________________________

e. destiny ________________________________________________________________

connotation: ______________________________________________________________

4. Reread the poem from the stanza that begins, “Bareheaded…” Do you think this is an extended metaphor or an analogy? Explain why. Why do you think the author uses this technique?

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Poem #2: Chicago by Carl Sandburg

Hog Butcher for the World, Tool Maker, Stacker of Wheat, Player with Railroads and the Nation's Freight Handler; Stormy, husky, brawling, City of the Big Shoulders: They tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps luring the farm boys. And they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again. And they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger. And having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them: Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning. Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities; Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness, Bareheaded, Shoveling, Wrecking, Planning, Building, breaking, rebuilding, Under the smoke, dust all over his mouth, laughing with white teeth, Under the terrible burden of destiny laughing as a young man laughs, Laughing even as an ignorant fighter laughs who has never lost a battle, Bragging and laughing that under his wrist is the pulse, and under his ribs the heart of the people,

Laughing! Laughing the stormy, husky, brawling laughter of Youth, half-‐naked, sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.

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Part VI. Poetic Structure, Meaning, and Style

Directions: Reread the first poem and the questions and answers for Part III. Then answer the following questions in the space provided.

1. How is the structure of “The Ballad of Grizzly Gulch” similar to and different than the structure of “Chicago”? Use the Venn diagram below.

The Ballad of Grizzly Gulch Chicago Both

2. How does the structure of each poem contribute to its meaning and style? Use text

evidence to support your response.

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Student Page 9 of 9

Sample Integrated Project

Teacher Lesson Plan Pages

are on pages 53-55

Student Pages

are on pages 56-69

Integrated ProjectStudents Adapt Knowledge to Real-World Situations

• Requiresextendedthinking,planning,andreporting

• Integrateslearningacrossmultipleconceptsandstandards

Language Arts Grade 8 includes

3 Integrated Projects




5252

Common Core Standards Plus® – Language Arts – Grade 8Integrated Project #3: What a Novel Idea!

Prerequisite Common Core Standards Plus Strands:

VocabularyAcquisitionandUse,KnowledgeofLanguage,andReadingLiterature

Project Objective:

Thestudentswillcreateareadinggroupguideforanoveltheyread.

Project Description:

Thestudentswillreadanovelandwriteareadinggroupguidethatotherscouldusetoguidetheirreadingofthenovel.Theywillidentifythekeyelements,pointofview,vocabulary,andploteventsthatareessentialtounderstandthenovel.Studentswilltradenovelsandguidesandanalyzewhethertheguidewashelpful.Sincethisisalearningactivity,allcomponentswillbecompletedinclass.

Project Components:

• Whatisareadinggroupguide?• Readingthenovel• Writingquestionstopromptthought,discussion,andunderstanding• Writingthefinalguide• Usingtheguidetoreadthenovel• Analyzingandreflectingontheprocess

Teaching elements for each project component are found on the following pages.

Standards Taught/Reinforced:

RL.8.1,RL.8.2,RL.8.3,RL.8.4,RL.8.6,RL.8.9,RL.8.10,W.8.4,W.8.5,W.8.7,W.8.9,W.8.9a,W.8.10,SL.8.1,SL.8.1a,SL.8.1b,SL.8.1c,SL.8.1d,SL.8.6,L.8.1,L.8.2,L.8.3,L.8.3a,L.8.4,L.8.4a,L.8.4b,L.8.4c,L.8.5,L.8.5a,L.8.5b,L.8.5c,L.8.6

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What Is a Reading Group Guide: (Required Student Materials: St. Ed. Pgs. 290-302)

• ReviewtheReadingGroupGuidePurposeandFormatpage(St.Ed.Pg.290).

• ReadTheLegendofSleepyHollowbyWashingtonIrving(St.Ed.Pgs.291-302).

• Asaclass,develop8-10questionstopromptthought,discussion,andunderstandingofthestory.

Reading the Novel: (Required Student Materials: St. Ed. Pg. 303)

• Thestudentsmusteachchooseanoveltoread.Youmayhavegroupsworkonthesamenovelifyouhavesetsofnovelsavailable.Thefinalcomponentsofthisprojecthavestudentsusingthestudent-createdguidestoreadsome-oneelse’snovel,soyoumusthavemultiplenovelsbeingread.

• Reviewtherubricfortheguide(St.Ed.Pg.303).• Remindstudentstotakenotesastheyreadaboutkeyelements,pointof

view,vocabulary,andploteventsthatareessentialtounderstandthenovel.• Youmaywanttohavethestudentsdeterminehowtobudgettheirtimein

ordertohavethenovelreadpriortothenextprojectcomponent.

Writing Questions to Prompt Thought, Discussion, and Understanding:

• ReturntothequestionsyouwroteasaclassforThe Legend of Sleepy Hollow.• Insmallgroups,havethestudentssharetheirnotecardsfromreadingtheir

novels.• Discusswhetherthequestionstheyhavewrittenaregenericorspecificto

theirnovel.Genericquestionsshouldbere-workedtobespecifictothenovel.

• Haveeachstudentworkwithapartnertoreadandorallyanswertheirques-tions.Studentsshouldbeabletoanswerthequestionstheyhavewrittenaboutthenovelsthey’veread.Anyquestionthatcannotbeanswer,mustbeeliminatedorre-worked.

• Establishatimelinetocompletethefinalguide.

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Teacher Lesson Plan 2 of 3

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Writing the Final Guide: (Required Student Materials: St. Ed. Pg. 303)

• Havethestudentsreturntotheirquestions,re-readeachquestion,andensurethateachquestionisspecifictothenovelandcouldbeusedtopromptthought,discussion,andunderstandingofthenovel.

• Havethestudentsworkwithapartnertopeeredittheirdraftoftheguide.• Havethestudentswritethefinalguide.

Using the Guide to Read the Novel: (Required Student Materials: Novels, student-generated guides)

• Havestudentstradenovelsandguides.• Eachstudentshouldbepreparedtogiveanoverviewofthenovelfortheir

partner.• Eachstudentshouldreviewthequestionstheirpartnerhaswrittenand

askforclarificationasneeded.• Setatimelinetocompletethereadingofthenovel.

Analyzing and Reflecting on the Process:

• Havestudentsworkwiththeirpartnerstodebriefthenovelsandquestions.• Holdawhole-classdiscussionabouttheprocess.Havestudentsidentify

whatworkedwell,whattheywouldchange,andhowthequestionshelpedinreadingthenovel.

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Reading Group Guide Purpose and Format

Purpose: Often people have reading groups in which members read the same novel, and they meet frequently to discuss what they have read. A reading group guide helps to prompt thought, discussion, and understanding of the novel. Many books are published with a guide at the back for use by reading groups. The same questions can be helpful when you read a novel on your own.

Format:

1. The guide is usually formatted as a series of questions.

2. The questions are specific to the novel:

a. Rather than What is the overriding theme of the novel?

b. How does Atticus Finch’s handling of the mob at the jail contribute to the developing theme in To Kill a Mockingbird?

3. The questions are open-‐ended. Any question that has just one correct answer or can be answered with a single word is not helpful in reading the novel.

a. Rather than Who is Atticus Finch?

b. How do Atticus Finch’s character traits help you to predict how he will react as the story unfolds? What are some examples of surprises that you encountered that initially seemed out of character for Finch?

4. Be sure to highlight key phrases or language that contribute to the overall message or to the development of a character in the questions.

5. The questions can be set to follow chapters, groups of chapters, and global questions about the novel as a whole.

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The Legend of Sleepy Hollow by Washington Irving

Found among the papers of the late Diedrich Knickerbocker.

In the bosom of one of those spacious coves which indent the eastern shore of the Hudson, at that broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and where they always prudently shortened sail and implored the protection of St. Nicholas when they crossed, there lies a small market town or rural port, which by some is called Greensburgh, but which is more generally and properly known by the name of Tarry Town. This name was given, we are told, in former days, by the good housewives of the adjacent country, from the inveterate propensity of their husbands to linger about the village tavern on market days. Be that as it may, I do not vouch for the fact, but merely advert to it, for the sake of being precise and authentic. Not far from this village, perhaps about two miles, there is a little valley or rather lap of land among high hills, which is one of the quietest places in the whole world. A small brook glides through it, with just murmur enough to lull one to repose; and the occasional whistle of a quail or tapping of a woodpecker is almost the only sound that ever breaks in upon the uniform tranquillity.

I recollect that, when a stripling, my first exploit in squirrel-‐shooting was in a grove of tall walnut-‐trees that shades one side of the valley. I had wandered into it at noontime, when all nature is peculiarly quiet, and was startled by the roar of my own gun, as it broke the Sabbath stillness around and was prolonged and reverberated by the angry echoes. If ever I should wish for a retreat whither I might steal from the world and its distractions, and dream quietly away the remnant of a troubled life, I know of none more promising than this little valley.

From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by the name of SLEEPY HOLLOW, and its rustic lads are called the Sleepy Hollow Boys throughout all the neighboring country. A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. Some say that the place was bewitched by a High German doctor, during the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. Certain it is, the place still continues under the sway of some witching power, that holds a spell over the minds of the good people, causing them to walk in a continual reverie. They are given to all kinds of marvellous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols.

The dominant spirit, however, that haunts this enchanted region, and seems to be commander-‐in-‐chief of all the powers of the air, is the apparition of a figure on horseback, without a head. It is said by some to be the ghost of a Hessian trooper, whose head had been carried away by a cannon-‐ball, in some nameless battle during the Revolutionary War, and who is ever and anon seen by the country folk hurrying along in the gloom of night, as if on the wings of the wind. His haunts are not confined to the valley, but extend at times to the adjacent roads, and especially to the vicinity of a church at no great distance. Indeed, certain of the most authentic historians of those parts, who have been careful in collecting and collating the floating facts concerning this spectre, allege that the body of the trooper having been buried in the churchyard, the ghost rides forth to the scene of battle in nightly quest of his head, and that the rushing speed with which he sometimes passes along the Hollow, like a midnight blast, is owing to his being belated, and in a hurry to get back to the churchyard before daybreak.

Such is the general purport of this legendary superstition, which has furnished materials for many a wild story in that region of shadows; and the spectre is known at all the country firesides, by the name of the Headless Horseman of Sleepy Hollow.

It is remarkable that the visionary propensity I have mentioned is not confined to the native inhabitants of the valley, but is unconsciously imbibed by every one who resides there for a time. However wide awake they may have been before they entered that sleepy region, they are sure, in a little time, to inhale the witching influence of the air, and begin to grow imaginative, to dream dreams, and see apparitions.


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I mention this peaceful spot with all possible laud, for it is in such little retired Dutch valleys, found here and there embosomed in the great State of New York, that population, manners, and customs remain fixed, while the great torrent of migration and improvement, which is making such incessant changes in other parts of this restless country, sweeps by them unobserved. They are like those little nooks of still water, which border a rapid stream, where we may see the straw and bubble riding quietly at anchor, or slowly revolving in their mimic harbor, undisturbed by the rush of the passing current. Though many years have elapsed since I trod the drowsy shades of Sleepy Hollow, yet I question whether I should not still find the same trees and the same families vegetating in its sheltered bosom.

In this by-‐place of nature there abode, in a remote period of American history, that is to say, some thirty years since, a worthy wight of the name of Ichabod Crane, who sojourned, or, as he expressed it, "tarried," in Sleepy Hollow, for the purpose of instructing the children of the vicinity. He was a native of Connecticut, a State which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at top, with huge ears, large green glassy eyes, and a long snipe nose, so that it looked like a weather-‐cock perched upon his spindle neck to tell which way the wind blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and fluttering about him, one might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield.

His schoolhouse was a low building of one large room, rudely constructed of logs; the windows partly glazed, and partly patched with leaves of old copybooks. It was most ingeniously secured at vacant hours, by a withe twisted in the handle of the door, and stakes set against the window shutters; so that though a thief might get in with perfect ease, he would find some embarrassment in getting out,—an idea most probably borrowed by the architect, Yost Van Houten, from the mystery of an eelpot. The schoolhouse stood in a rather lonely but pleasant situation, just at the foot of a woody hill, with a brook running close by, and a formidable birch-‐tree growing at one end of it. From hence the low murmur of his pupils' voices, conning over their lessons, might be heard in a drowsy summer's day, like the hum of a beehive; interrupted now and then by the authoritative voice of the master, in the tone of menace or command, or, peradventure, by the appalling sound of the birch, as he urged some tardy loiterer along the flowery path of knowledge. Truth to say, he was a conscientious man, and ever bore in mind the golden maxim, "Spare the rod and spoil the child." Ichabod Crane's scholars certainly were not spoiled.

I would not have it imagined, however, that he was one of those cruel potentates of the school who joy in the smart of their subjects; on the contrary, he administered justice with discrimination rather than severity; taking the burden off the backs of the weak, and laying it on those of the strong. Your mere puny stripling, that winced at the least flourish of the rod, was passed by with indulgence; but the claims of justice were satisfied by inflicting a double portion on some little tough wrong-‐headed, broad-‐skirted Dutch urchin, who sulked and swelled and grew dogged and sullen beneath the birch. All this he called "doing his duty by their parents;" and he never inflicted a chastisement without following it by the assurance, so consolatory to the smarting urchin, that "he would remember it and thank him for it the longest day he had to live."

When school hours were over, he was even the companion and playmate of the larger boys; and on holiday afternoons would convoy some of the smaller ones home, who happened to have pretty sisters, or good housewives for mothers, noted for the comforts of the cupboard. Indeed, it behooved him to keep on good terms with his pupils. The revenue arising from his school was small, and would have been scarcely sufficient to furnish him with daily bread, for he was a huge feeder, and, though lank, had the dilating powers of an anaconda; but to help out his maintenance, he was, according to country custom in those parts, boarded and lodged at the houses of the farmers whose children he instructed. With these he lived successively a week at a time, thus going the rounds of the neighborhood, with all his worldly effects tied up in a cotton handkerchief.

That all this might not be too onerous on the purses of his rustic patrons, who are apt to consider the costs of schooling a grievous burden, and schoolmasters as mere drones, he had various ways of rendering himself both useful and agreeable. He assisted the farmers occasionally in the lighter labors of their farms, helped to make hay, mended the fences, took the horses to water, drove the cows from pasture, and cut wood for the winter fire. He laid aside, too, all the dominant dignity and absolute sway with which he lorded it in his little empire, the school, and became wonderfully gentle and ingratiating. He found favor in the eyes of the mothers by petting the children, particularly the youngest; and like the lion bold, which whilom so magnanimously the lamb did hold, he would sit with a child on one knee, and rock a cradle with his foot for whole hours together.


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In addition to his other vocations, he was the singing-‐master of the neighborhood, and picked up many bright shillings by instructing the young folks in psalmody. It was a matter of no little vanity to him on Sundays, to take his station in front of the church gallery, with a band of chosen singers; where, in his own mind, he completely carried away the palm from the parson. Certain it is, his voice resounded far above all the rest of the congregation; and there are peculiar quavers still to be heard in that church, and which may even be heard half a mile off, quite to the opposite side of the millpond, on a still Sunday morning, which are said to be legitimately descended from the nose of Ichabod Crane. Thus, by divers little makeshifts, in that ingenious way which is commonly denominated "by hook and by crook," the worthy pedagogue got on tolerably enough, and was thought, by all who understood nothing of the labor of headwork, to have a wonderfully easy life of it.

The schoolmaster is generally a man of some importance in the female circle of a rural neighborhood; being considered a kind of idle, gentlemanlike personage, of vastly superior taste and accomplishments to the rough country swains, and, indeed, inferior in learning only to the parson. His appearance, therefore, is apt to occasion some little stir at the tea-‐table of a farmhouse, and the addition of a supernumerary dish of cakes or sweetmeats, or, peradventure, the parade of a silver teapot. Our man of letters, therefore, was peculiarly happy in the smiles of all the country damsels. How he would figure among them in the churchyard, between services on Sundays; gathering grapes for them from the wild vines that overran the surrounding trees; reciting for their amusement all the epitaphs on the tombstones; or sauntering, with a whole bevy of them, along the banks of the adjacent millpond; while the more bashful country bumpkins hung sheepishly back, envying his superior elegance and address.

From his half-‐itinerant life, also, he was a kind of travelling gazette, carrying the whole budget of local gossip from house to house, so that his appearance was always greeted with satisfaction. He was, moreover, esteemed by the women as a man of great erudition, for he had read several books quite through, and was a perfect master of Cotton Mather's "History of New England Witchcraft," in which, by the way, he most firmly and potently believed.

He was, in fact, an odd mixture of small shrewdness and simple credulity. His appetite for the marvellous, and his powers of digesting it, were equally extraordinary; and both had been increased by his residence in this spell-‐bound region. No tale was too gross or monstrous for his capacious swallow. It was often his delight, after his school was dismissed in the afternoon, to stretch himself on the rich bed of clover bordering the little brook that whimpered by his schoolhouse, and there con over old Mather's direful tales, until the gathering dusk of evening made the printed page a mere mist before his eyes. Then, as he wended his way by swamp and stream and awful woodland, to the farmhouse where he happened to be quartered, every sound of nature, at that witching hour, fluttered his excited imagination,—the moan of the whip-‐poor-‐will from the hillside, the boding cry of the tree toad, that harbinger of storm, the dreary hooting of the screech owl, or the sudden rustling in the thicket of birds frightened from their roost. The fireflies, too, which sparkled most vividly in the darkest places, now and then startled him, as one of uncommon brightness would stream across his path; and if, by chance, a huge blockhead of a beetle came winging his blundering flight against him, the poor varlet was ready to give up the ghost, with the idea that he was struck with a witch's token. His only resource on such occasions, either to drown thought or drive away evil spirits, was to sing psalm tunes and the good people of Sleepy Hollow, as they sat by their doors of an evening, were often filled with awe at hearing his nasal melody, "in linked sweetness long drawn out," floating from the distant hill, or along the dusky road.

Another of his sources of fearful pleasure was to pass long winter evenings with the old Dutch wives, as they sat spinning by the fire, with a row of apples roasting and spluttering along the hearth, and listen to their marvellous tales of ghosts and goblins, and haunted fields, and haunted brooks, and haunted bridges, and haunted houses, and particularly of the headless horseman, or Galloping Hessian of the Hollow, as they sometimes called him. He would delight them equally by his anecdotes of witchcraft, and of the direful omens and portentous sights and sounds in the air, which prevailed in the earlier times of Connecticut; and would frighten them woefully with speculations upon comets and shooting stars; and with the alarming fact that the world did absolutely turn round, and that they were half the time topsy-‐turvy!

But if there was a pleasure in all this, while snugly cuddling in the chimney corner of a chamber that was all of a ruddy glow from the crackling wood fire, and where, of course, no spectre dared to show its face, it was dearly purchased by the terrors of his subsequent walk homewards. What fearful shapes and shadows beset his path, amidst the dim and ghastly glare of a snowy night! With what wistful look did he eye every trembling ray of light streaming across the waste fields from some distant window! How often was he appalled by some shrub covered with snow, which, like a sheeted spectre, beset his very path! How often did he shrink with curdling awe at the sound of his own steps on the frosty crust beneath his feet; and dread to look over his shoulder, lest he should


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behold some uncouth being tramping close behind him! And how often was he thrown into complete dismay by some rushing blast, howling among the trees, in the idea that it was the Galloping Hessian on one of his nightly scourings!

All these, however, were mere terrors of the night, phantoms of the mind that walk in darkness; and though he had seen many spectres in his time, and been more than once beset by Satan in divers shapes, in his lonely perambulations, yet daylight put an end to all these evils; and he would have passed a pleasant life of it, in despite of the Devil and all his works, if his path had not been crossed by a being that causes more perplexity to mortal man than ghosts, goblins, and the whole race of witches put together, and that was—a woman.

Among the musical disciples who assembled, one evening in each week, to receive his instructions in psalmody, was Katrina Van Tassel, the daughter and only child of a substantial Dutch farmer. She was a blooming lass of fresh eighteen; plump as a partridge; ripe and melting and rosy-‐cheeked as one of her father's peaches, and universally famed, not merely for her beauty, but her vast expectations. She was withal a little of a coquette, as might be perceived even in her dress, which was a mixture of ancient and modern fashions, as most suited to set off her charms. She wore the ornaments of pure yellow gold, which her great-‐great-‐grandmother had brought over from Saardam; the tempting stomacher of the olden time, and withal a provokingly short petticoat, to display the prettiest foot and ankle in the country round.

Ichabod Crane had a soft and foolish heart towards the sex; and it is not to be wondered at that so tempting a morsel soon found favor in his eyes, more especially after he had visited her in her paternal mansion. Old Baltus Van Tassel was a perfect picture of a thriving, contented, liberal-‐hearted farmer. He seldom, it is true, sent either his eyes or his thoughts beyond the boundaries of his own farm; but within those everything was snug, happy and well-‐conditioned. He was satisfied with his wealth, but not proud of it; and piqued himself upon the hearty abundance, rather than the style in which he lived. His stronghold was situated on the banks of the Hudson, in one of those green, sheltered, fertile nooks in which the Dutch farmers are so fond of nestling. A great elm tree spread its broad branches over it, at the foot of which bubbled up a spring of the softest and sweetest water, in a little well formed of a barrel; and then stole sparkling away through the grass, to a neighboring brook, that babbled along among alders and dwarf willows. Hard by the farmhouse was a vast barn, that might have served for a church; every window and crevice of which seemed bursting forth with the treasures of the farm; the flail was busily resounding within it from morning to night; swallows and martins skimmed twittering about the eaves; and rows of pigeons, some with one eye turned up, as if watching the weather, some with their heads under their wings or buried in their bosoms, and others swelling, and cooing, and bowing about their dames, were enjoying the sunshine on the roof. Sleek unwieldy porkers were grunting in the repose and abundance of their pens, from whence sallied forth, now and then, troops of sucking pigs, as if to snuff the air. A stately squadron of snowy geese were riding in an adjoining pond, convoying whole fleets of ducks; regiments of turkeys were gobbling through the farmyard, and Guinea fowls fretting about it, like ill-‐tempered housewives, with their peevish, discontented cry. Before the barn door strutted the gallant cock, that pattern of a husband, a warrior and a fine gentleman, clapping his burnished wings and crowing in the pride and gladness of his heart,—sometimes tearing up the earth with his feet, and then generously calling his ever-‐hungry family of wives and children to enjoy the rich morsel which he had discovered.

The pedagogue's mouth watered as he looked upon this sumptuous promise of luxurious winter fare. In his devouring mind's eye, he pictured to himself every roasting-‐pig running about with a pudding in his belly, and an apple in his mouth; the pigeons were snugly put to bed in a comfortable pie, and tucked in with a coverlet of crust; the geese were swimming in their own gravy; and the ducks pairing cosily in dishes, like snug married couples, with a decent competency of onion sauce. In the porkers he saw carved out the future sleek side of bacon, and juicy relishing ham; not a turkey but he beheld daintily trussed up, with its gizzard under its wing, and, peradventure, a necklace of savory sausages; and even bright chanticleer himself lay sprawling on his back, in a side dish, with uplifted claws, as if craving that quarter which his chivalrous spirit disdained to ask while living.

As the enraptured Ichabod fancied all this, and as he rolled his great green eyes over the fat meadow lands, the rich fields of wheat, of rye, of buckwheat, and Indian corn, and the orchards burdened with ruddy fruit, which surrounded the warm tenement of Van Tassel, his heart yearned after the damsel who was to inherit these domains, and his imagination expanded with the idea, how they might be readily turned into cash, and the money invested in immense tracts of wild land, and shingle palaces in the wilderness. Nay, his busy fancy already realized his hopes, and presented to him the blooming Katrina, with a whole family of children, mounted on the top of a wagon loaded with household trumpery, with pots and kettles dangling beneath; and he beheld himself bestriding a pacing mare, with a colt at her heels, setting out for Kentucky, Tennessee,—or the Lord knows where!



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When he entered the house, the conquest of his heart was complete. It was one of those spacious farmhouses, with high-‐ridged but lowly sloping roofs, built in the style handed down from the first Dutch settlers; the low projecting eaves forming a piazza along the front, capable of being closed up in bad weather. Under this were hung flails, harness, various utensils of husbandry, and nets for fishing in the neighboring river. Benches were built along the sides for summer use; and a great spinning-‐wheel at one end, and a churn at the other, showed the various uses to which this important porch might be devoted. From this piazza the wondering Ichabod entered the hall, which formed the centre of the mansion, and the place of usual residence. Here rows of resplendent pewter, ranged on a long dresser, dazzled his eyes. In one corner stood a huge bag of wool, ready to be spun; in another, a quantity of linsey-‐woolsey just from the loom; ears of Indian corn, and strings of dried apples and peaches, hung in gay festoons along the walls, mingled with the gaud of red peppers; and a door left ajar gave him a peep into the best parlor, where the claw-‐footed chairs and dark mahogany tables shone like mirrors; andirons, with their accompanying shovel and tongs, glistened from their covert of asparagus tops; mock-‐oranges and conch-‐shells decorated the mantelpiece; strings of various-‐colored birds eggs were suspended above it; a great ostrich egg was hung from the centre of the room, and a corner cupboard, knowingly left open, displayed immense treasures of old silver and well-‐mended china.

From the moment Ichabod laid his eyes upon these regions of delight, the peace of his mind was at an end, and his only study was how to gain the affections of the peerless daughter of Van Tassel. In this enterprise, however, he had more real difficulties than generally fell to the lot of a knight-‐errant of yore, who seldom had anything but giants, enchanters, fiery dragons, and such like easily conquered adversaries, to contend with and had to make his way merely through gates of iron and brass, and walls of adamant to the castle keep, where the lady of his heart was confined; all which he achieved as easily as a man would carve his way to the centre of a Christmas pie; and then the lady gave him her hand as a matter of course. Ichabod, on the contrary, had to win his way to the heart of a country coquette, beset with a labyrinth of whims and caprices, which were forever presenting new difficulties and impediments; and he had to encounter a host of fearful adversaries of real flesh and blood, the numerous rustic admirers, who beset every portal to her heart, keeping a watchful and angry eye upon each other, but ready to fly out in the common cause against any new competitor.

Among these, the most formidable was a burly, roaring, roystering blade, of the name of Abraham, or, according to the Dutch abbreviation, Brom Van Brunt, the hero of the country round, which rang with his feats of strength and hardihood. He was broad-‐shouldered and double-‐jointed, with short curly black hair, and a bluff but not unpleasant countenance, having a mingled air of fun and arrogance. From his Herculean frame and great powers of limb he had received the nickname of BROM BONES, by which he was universally known. He was famed for great knowledge and skill in horsemanship, being as dexterous on horseback as a Tartar. He was foremost at all races and cock fights; and, with the ascendancy which bodily strength always acquires in rustic life, was the umpire in all disputes, setting his hat on one side, and giving his decisions with an air and tone that admitted of no gainsay or appeal. He was always ready for either a fight or a frolic; but had more mischief than ill-‐will in his composition; and with all his overbearing roughness, there was a strong dash of waggish good humor at bottom. He had three or four boon companions, who regarded him as their model, and at the head of whom he scoured the country, attending every scene of feud or merriment for miles round. In cold weather he was distinguished by a fur cap, surmounted with a flaunting fox's tail; and when the folks at a country gathering descried this well-‐known crest at a distance, whisking about among a squad of hard riders, they always stood by for a squall. Sometimes his crew would be heard dashing along past the farmhouses at midnight, with whoop and halloo, like a troop of Don Cossacks; and the old dames, startled out of their sleep, would listen for a moment till the hurry-‐scurry had clattered by, and then exclaim, "Ay, there goes Brom Bones and his gang!" The neighbors looked upon him with a mixture of awe, admiration, and good-‐will; and, when any madcap prank or rustic brawl occurred in the vicinity, always shook their heads, and warranted Brom Bones was at the bottom of it.

This rantipole hero had for some time singled out the blooming Katrina for the object of his uncouth gallantries, and though his amorous toyings were something like the gentle caresses and endearments of a bear, yet it was whispered that she did not altogether discourage his hopes. Certain it is, his advances were signals for rival candidates to retire, who felt no inclination to cross a lion in his amours; insomuch, that when his horse was seen tied to Van Tassel's paling, on a Sunday night, a sure sign that his master was courting, or, as it is termed, "sparking," within, all other suitors passed by in despair, and carried the war into other quarters.

Such was the formidable rival with whom Ichabod Crane had to contend, and, considering all things, a stouter man than he would have shrunk from the competition, and a wiser man would have despaired. He had, however, a happy mixture of pliability and perseverance in his nature; he was in form and spirit like a supple-‐jack—yielding, but



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tough; though he bent, he never broke; and though he bowed beneath the slightest pressure, yet, the moment it was away—jerk!—he was as erect, and carried his head as high as ever.

To have taken the field openly against his rival would have been madness; for he was not a man to be thwarted in his amours, any more than that stormy lover, Achilles. Ichabod, therefore, made his advances in a quiet and gently insinuating manner. Under cover of his character of singing-‐master, he made frequent visits at the farmhouse; not that he had anything to apprehend from the meddlesome interference of parents, which is so often a stumbling-‐block in the path of lovers. Balt Van Tassel was an easy indulgent soul; he loved his daughter better even than his pipe, and, like a reasonable man and an excellent father, let her have her way in everything. His notable little wife, too, had enough to do to attend to her housekeeping and manage her poultry; for, as she sagely observed, ducks and geese are foolish things, and must be looked after, but girls can take care of themselves. Thus, while the busy dame bustled about the house, or plied her spinning-‐wheel at one end of the piazza, honest Balt would sit smoking his evening pipe at the other, watching the achievements of a little wooden warrior, who, armed with a sword in each hand, was most valiantly fighting the wind on the pinnacle of the barn. In the mean time, Ichabod would carry on his suit with the daughter by the side of the spring under the great elm, or sauntering along in the twilight, that hour so favorable to the lover's eloquence.

I profess not to know how women's hearts are wooed and won. To me they have always been matters of riddle and admiration. Some seem to have but one vulnerable point, or door of access; while others have a thousand avenues, and may be captured in a thousand different ways. It is a great triumph of skill to gain the former, but a still greater proof of generalship to maintain possession of the latter, for man must battle for his fortress at every door and window. He who wins a thousand common hearts is therefore entitled to some renown; but he who keeps undisputed sway over the heart of a coquette is indeed a hero. Certain it is, this was not the case with the redoubtable Brom Bones; and from the moment Ichabod Crane made his advances, the interests of the former evidently declined: his horse was no longer seen tied to the palings on Sunday nights, and a deadly feud gradually arose between him and the preceptor of Sleepy Hollow.

Brom, who had a degree of rough chivalry in his nature, would fain have carried matters to open warfare and have settled their pretensions to the lady, according to the mode of those most concise and simple reasoners, the knights-‐errant of yore,—by single combat; but Ichabod was too conscious of the superior might of his adversary to enter the lists against him; he had overheard a boast of Bones, that he would "double the schoolmaster up, and lay him on a shelf of his own schoolhouse;" and he was too wary to give him an opportunity. There was something extremely provoking in this obstinately pacific system; it left Brom no alternative but to draw upon the funds of rustic waggery in his disposition, and to play off boorish practical jokes upon his rival. Ichabod became the object of whimsical persecution to Bones and his gang of rough riders. They harried his hitherto peaceful domains; smoked out his singing school by stopping up the chimney; broke into the schoolhouse at night, in spite of its formidable fastenings of withe and window stakes, and turned everything topsy-‐turvy, so that the poor schoolmaster began to think all the witches in the country held their meetings there. But what was still more annoying, Brom took all opportunities of turning him into ridicule in presence of his mistress, and had a scoundrel dog whom he taught to whine in the most ludicrous manner, and introduced as a rival of Ichabod's, to instruct her in psalmody.

In this way matters went on for some time, without producing any material effect on the relative situations of the contending powers. On a fine autumnal afternoon, Ichabod, in pensive mood, sat enthroned on the lofty stool from whence he usually watched all the concerns of his little literary realm. In his hand he swayed a ferule, that sceptre of despotic power; the birch of justice reposed on three nails behind the throne, a constant terror to evil doers, while on the desk before him might be seen sundry contraband articles and prohibited weapons, detected upon the persons of idle urchins, such as half-‐munched apples, popguns, whirligigs, fly-‐cages, and whole legions of rampant little paper gamecocks. Apparently there had been some appalling act of justice recently inflicted, for his scholars were all busily intent upon their books, or slyly whispering behind them with one eye kept upon the master; and a kind of buzzing stillness reigned throughout the schoolroom. It was suddenly interrupted by the appearance of a negro in tow-‐cloth jacket and trowsers, a round-‐crowned fragment of a hat, like the cap of Mercury, and mounted on the back of a ragged, wild, half-‐broken colt, which he managed with a rope by way of halter. He came clattering up to the school door with an invitation to Ichabod to attend a merry-‐making or "quilting frolic," to be held that evening at Mynheer Van Tassel's; and having delivered his message with that air of importance, and effort at fine language, which a negro is apt to display on petty embassies of the kind, he dashed over the brook, and was seen scampering away up the hollow, full of the importance and hurry of his mission.

All was now bustle and hubbub in the late quiet schoolroom. The scholars were hurried through their lessons without stopping at trifles; those who were nimble skipped over half with impunity, and those who were tardy had



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a smart application now and then in the rear, to quicken their speed or help them over a tall word. Books were flung aside without being put away on the shelves, inkstands were overturned, benches thrown down, and the whole school was turned loose an hour before the usual time, bursting forth like a legion of young imps, yelping and racketing about the green in joy at their early emancipation.

The gallant Ichabod now spent at least an extra half hour at his toilet, brushing and furbishing up his best, and indeed only suit of rusty black, and arranging his locks by a bit of broken looking-‐glass that hung up in the schoolhouse. That he might make his appearance before his mistress in the true style of a cavalier, he borrowed a horse from the farmer with whom he was domiciliated, a choleric old Dutchman of the name of Hans Van Ripper, and, thus gallantly mounted, issued forth like a knight-‐errant in quest of adventures. But it is meet I should, in the true spirit of romantic story, give some account of the looks and equipments of my hero and his steed. The animal he bestrode was a broken-‐down plow-‐horse, that had outlived almost everything but its viciousness. He was gaunt and shagged, with a ewe neck, and a head like a hammer; his rusty mane and tail were tangled and knotted with burs; one eye had lost its pupil, and was glaring and spectral, but the other had the gleam of a genuine devil in it. Still he must have had fire and mettle in his day, if we may judge from the name he bore of Gunpowder. He had, in fact, been a favorite steed of his master's, the choleric Van Ripper, who was a furious rider, and had infused, very probably, some of his own spirit into the animal; for, old and broken-‐down as he looked, there was more of the lurking devil in him than in any young filly in the country.

Ichabod was a suitable figure for such a steed. He rode with short stirrups, which brought his knees nearly up to the pommel of the saddle; his sharp elbows stuck out like grasshoppers'; he carried his whip perpendicularly in his hand, like a sceptre, and as his horse jogged on, the motion of his arms was not unlike the flapping of a pair of wings. A small wool hat rested on the top of his nose, for so his scanty strip of forehead might be called, and the skirts of his black coat fluttered out almost to the horses tail. Such was the appearance of Ichabod and his steed as they shambled out of the gate of Hans Van Ripper, and it was altogether such an apparition as is seldom to be met with in broad daylight.

It was, as I have said, a fine autumnal day; the sky was clear and serene, and nature wore that rich and golden livery which we always associate with the idea of abundance. The forests had put on their sober brown and yellow, while some trees of the tenderer kind had been nipped by the frosts into brilliant dyes of orange, purple, and scarlet. Streaming files of wild ducks began to make their appearance high in the air; the bark of the squirrel might be heard from the groves of beech and hickory-‐nuts, and the pensive whistle of the quail at intervals from the neighboring stubble field.

The small birds were taking their farewell banquets. In the fullness of their revelry, they fluttered, chirping and frolicking from bush to bush, and tree to tree, capricious from the very profusion and variety around them. There was the honest cock robin, the favorite game of stripling sportsmen, with its loud querulous note; and the twittering blackbirds flying in sable clouds; and the golden-‐winged woodpecker with his crimson crest, his broad black gorget, and splendid plumage; and the cedar bird, with its red-‐tipt wings and yellow-‐tipt tail and its little monteiro cap of feathers; and the blue jay, that noisy coxcomb, in his gay light blue coat and white underclothes, screaming and chattering, nodding and bobbing and bowing, and pretending to be on good terms with every songster of the grove.

As Ichabod jogged slowly on his way, his eye, ever open to every symptom of culinary abundance, ranged with delight over the treasures of jolly autumn. On all sides he beheld vast store of apples; some hanging in oppressive opulence on the trees; some gathered into baskets and barrels for the market; others heaped up in rich piles for the cider-‐press. Farther on he beheld great fields of Indian corn, with its golden ears peeping from their leafy coverts, and holding out the promise of cakes and hasty-‐pudding; and the yellow pumpkins lying beneath them, turning up their fair round bellies to the sun, and giving ample prospects of the most luxurious of pies; and anon he passed the fragrant buckwheat fields breathing the odor of the beehive, and as he beheld them, soft anticipations stole over his mind of dainty slapjacks, well buttered, and garnished with honey or treacle, by the delicate little dimpled hand of Katrina Van Tassel.

Thus feeding his mind with many sweet thoughts and "sugared suppositions," he journeyed along the sides of a range of hills which look out upon some of the goodliest scenes of the mighty Hudson. The sun gradually wheeled his broad disk down in the west. The wide bosom of the Tappan Zee lay motionless and glassy, excepting that here and there a gentle undulation waved and prolonged the blue shadow of the distant mountain. A few amber clouds floated in the sky, without a breath of air to move them. The horizon was of a fine golden tint, changing gradually into a pure apple green, and from that into the deep blue of the mid-‐heaven. A slanting ray lingered on the woody crests of the precipices that overhung some parts of the river, giving greater depth to the dark gray and purple of


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their rocky sides. A sloop was loitering in the distance, dropping slowly down with the tide, her sail hanging uselessly against the mast; and as the reflection of the sky gleamed along the still water, it seemed as if the vessel was suspended in the air.

It was toward evening that Ichabod arrived at the castle of the Heer Van Tassel, which he found thronged with the pride and flower of the adjacent country. Old farmers, a spare leathern-‐faced race, in homespun coats and breeches, blue stockings, huge shoes, and magnificent pewter buckles. Their brisk, withered little dames, in close-‐crimped caps, long-‐waisted short gowns, homespun petticoats, with scissors and pincushions, and gay calico pockets hanging on the outside. Buxom lasses, almost as antiquated as their mothers, excepting where a straw hat, a fine ribbon, or perhaps a white frock, gave symptoms of city innovation. The sons, in short square-‐skirted coats, with rows of stupendous brass buttons, and their hair generally queued in the fashion of the times, especially if they could procure an eel-‐skin for the purpose, it being esteemed throughout the country as a potent nourisher and strengthener of the hair.

Brom Bones, however, was the hero of the scene, having come to the gathering on his favorite steed Daredevil, a creature, like himself, full of mettle and mischief, and which no one but himself could manage. He was, in fact, noted for preferring vicious animals, given to all kinds of tricks which kept the rider in constant risk of his neck, for he held a tractable, well-‐broken horse as unworthy of a lad of spirit.

Fain would I pause to dwell upon the world of charms that burst upon the enraptured gaze of my hero, as he entered the state parlor of Van Tassel's mansion. Not those of the bevy of buxom lasses, with their luxurious display of red and white; but the ample charms of a genuine Dutch country tea-‐table, in the sumptuous time of autumn. Such heaped up platters of cakes of various and almost indescribable kinds, known only to experienced Dutch housewives! There was the doughty doughnut, the tender oly koek, and the crisp and crumbling cruller; sweet cakes and short cakes, ginger cakes and honey cakes, and the whole family of cakes. And then there were apple pies, and peach pies, and pumpkin pies; besides slices of ham and smoked beef; and moreover delectable dishes of preserved plums, and peaches, and pears, and quinces; not to mention broiled shad and roasted chickens; together with bowls of milk and cream, all mingled higgledy-‐piggledy, pretty much as I have enumerated them, with the motherly teapot sending up its clouds of vapor from the midst—Heaven bless the mark! I want breath and time to discuss this banquet as it deserves, and am too eager to get on with my story. Happily, Ichabod Crane was not in so great a hurry as his historian, but did ample justice to every dainty.

He was a kind and thankful creature, whose heart dilated in proportion as his skin was filled with good cheer, and whose spirits rose with eating, as some men's do with drink. He could not help, too, rolling his large eyes round him as he ate, and chuckling with the possibility that he might one day be lord of all this scene of almost unimaginable luxury and splendor. Then, he thought, how soon he'd turn his back upon the old schoolhouse; snap his fingers in the face of Hans Van Ripper, and every other niggardly patron, and kick any itinerant pedagogue out of doors that should dare to call him comrade!

Old Baltus Van Tassel moved about among his guests with a face dilated with content and good humor, round and jolly as the harvest moon. His hospitable attentions were brief, but expressive, being confined to a shake of the hand, a slap on the shoulder, a loud laugh, and a pressing invitation to "fall to, and help themselves."

And now the sound of the music from the common room, or hall, summoned to the dance. The musician was an old gray-‐headed negro, who had been the itinerant orchestra of the neighborhood for more than half a century. His instrument was as old and battered as himself. The greater part of the time he scraped on two or three strings, accompanying every movement of the bow with a motion of the head; bowing almost to the ground, and stamping with his foot whenever a fresh couple were to start.

Ichabod prided himself upon his dancing as much as upon his vocal powers. Not a limb, not a fibre about him was idle; and to have seen his loosely hung frame in full motion, and clattering about the room, you would have thought St. Vitus himself, that blessed patron of the dance, was figuring before you in person. He was the admiration of all the negroes; who, having gathered, of all ages and sizes, from the farm and the neighborhood, stood forming a pyramid of shining black faces at every door and window, gazing with delight at the scene, rolling their white eyeballs, and showing grinning rows of ivory from ear to ear. How could the flogger of urchins be otherwise than animated and joyous? The lady of his heart was his partner in the dance, and smiling graciously in reply to all his amorous oglings; while Brom Bones, sorely smitten with love and jealousy, sat brooding by himself in one corner.

When the dance was at an end, Ichabod was attracted to a knot of the sager folks, who, with Old Van Tassel, sat smoking at one end of the piazza, gossiping over former times, and drawing out long stories about the war.


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This neighborhood, at the time of which I am speaking, was one of those highly favored places which abound with chronicle and great men. The British and American line had run near it during the war; it had, therefore, been the scene of marauding and infested with refugees, cowboys, and all kinds of border chivalry. Just sufficient time had elapsed to enable each storyteller to dress up his tale with a little becoming fiction, and, in the indistinctness of his recollection, to make himself the hero of every exploit.

There was the story of Doffue Martling, a large blue-‐bearded Dutchman, who had nearly taken a British frigate with an old iron nine-‐pounder from a mud breastwork, only that his gun burst at the sixth discharge. And there was an old gentleman who shall be nameless, being too rich a mynheer to be lightly mentioned, who, in the battle of White Plains, being an excellent master of defence, parried a musket-‐ball with a small sword, insomuch that he absolutely felt it whiz round the blade, and glance off at the hilt; in proof of which he was ready at any time to show the sword, with the hilt a little bent. There were several more that had been equally great in the field, not one of whom but was persuaded that he had a considerable hand in bringing the war to a happy termination.

But all these were nothing to the tales of ghosts and apparitions that succeeded. The neighborhood is rich in legendary treasures of the kind. Local tales and superstitions thrive best in these sheltered, long-‐settled retreats; but are trampled under foot by the shifting throng that forms the population of most of our country places. Besides, there is no encouragement for ghosts in most of our villages, for they have scarcely had time to finish their first nap and turn themselves in their graves, before their surviving friends have travelled away from the neighborhood; so that when they turn out at night to walk their rounds, they have no acquaintance left to call upon. This is perhaps the reason why we so seldom hear of ghosts except in our long-‐established Dutch communities.

The immediate cause, however, of the prevalence of supernatural stories in these parts, was doubtless owing to the vicinity of Sleepy Hollow. There was a contagion in the very air that blew from that haunted region; it breathed forth an atmosphere of dreams and fancies infecting all the land. Several of the Sleepy Hollow people were present at Van Tassel's, and, as usual, were doling out their wild and wonderful legends. Many dismal tales were told about funeral trains, and mourning cries and wailings heard and seen about the great tree where the unfortunate Major André was taken, and which stood in the neighborhood. Some mention was made also of the woman in white, that haunted the dark glen at Raven Rock, and was often heard to shriek on winter nights before a storm, having perished there in the snow. The chief part of the stories, however, turned upon the favorite spectre of Sleepy Hollow, the Headless Horseman, who had been heard several times of late, patrolling the country; and, it was said, tethered his horse nightly among the graves in the churchyard.

The sequestered situation of this church seems always to have made it a favorite haunt of troubled spirits. It stands on a knoll, surrounded by locust-‐trees and lofty elms, from among which its decent, whitewashed walls shine modestly forth, like Christian purity beaming through the shades of retirement. A gentle slope descends from it to a silver sheet of water, bordered by high trees, between which, peeps may be caught at the blue hills of the Hudson. To look upon its grass-‐grown yard, where the sunbeams seem to sleep so quietly, one would think that there at least the dead might rest in peace. On one side of the church extends a wide woody dell, along which raves a large brook among broken rocks and trunks of fallen trees. Over a deep black part of the stream, not far from the church, was formerly thrown a wooden bridge; the road that led to it, and the bridge itself, were thickly shaded by overhanging trees, which cast a gloom about it, even in the daytime; but occasioned a fearful darkness at night. Such was one of the favorite haunts of the Headless Horseman, and the place where he was most frequently encountered. The tale was told of old Brouwer, a most heretical disbeliever in ghosts, how he met the Horseman returning from his foray into Sleepy Hollow, and was obliged to get up behind him; how they galloped over bush and brake, over hill and swamp, until they reached the bridge; when the Horseman suddenly turned into a skeleton, threw old Brouwer into the brook, and sprang away over the tree-‐tops with a clap of thunder.

This story was immediately matched by a thrice marvellous adventure of Brom Bones, who made light of the Galloping Hessian as an arrant jockey. He affirmed that on returning one night from the neighboring village of Sing Sing, he had been overtaken by this midnight trooper; that he had offered to race with him for a bowl of punch, and should have won it too, for Daredevil beat the goblin horse all hollow, but just as they came to the church bridge, the Hessian bolted, and vanished in a flash of fire.

All these tales, told in that drowsy undertone with which men talk in the dark, the countenances of the listeners only now and then receiving a casual gleam from the glare of a pipe, sank deep in the mind of Ichabod. He repaid them in kind with large extracts from his invaluable author, Cotton Mather, and added many marvellous events that had taken place in his native State of Connecticut, and fearful sights which he had seen in his nightly walks about Sleepy Hollow.


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The revel now gradually broke up. The old farmers gathered together their families in their wagons, and were heard for some time rattling along the hollow roads, and over the distant hills. Some of the damsels mounted on pillions behind their favorite swains, and their light-‐hearted laughter, mingling with the clatter of hoofs, echoed along the silent woodlands, sounding fainter and fainter, until they gradually died away,—and the late scene of noise and frolic was all silent and deserted. Ichabod only lingered behind, according to the custom of country lovers, to have a tête-‐à-‐tête with the heiress; fully convinced that he was now on the high road to success. What passed at this interview I will not pretend to say, for in fact I do not know. Something, however, I fear me, must have gone wrong, for he certainly sallied forth, after no very great interval, with an air quite desolate and chapfallen. Oh, these women! these women! Could that girl have been playing off any of her coquettish tricks? Was her encouragement of the poor pedagogue all a mere sham to secure her conquest of his rival? Heaven only knows, not I! Let it suffice to say, Ichabod stole forth with the air of one who had been sacking a henroost, rather than a fair lady's heart. Without looking to the right or left to notice the scene of rural wealth, on which he had so often gloated, he went straight to the stable, and with several hearty cuffs and kicks roused his steed most uncourteously from the comfortable quarters in which he was soundly sleeping, dreaming of mountains of corn and oats, and whole valleys of timothy and clover.

It was the very witching time of night that Ichabod, heavy-‐hearted and crestfallen, pursued his travels homewards, along the sides of the lofty hills which rise above Tarry Town, and which he had traversed so cheerily in the afternoon. The hour was as dismal as himself. Far below him the Tappan Zee spread its dusky and indistinct waste of waters, with here and there the tall mast of a sloop, riding quietly at anchor under the land. In the dead hush of midnight, he could even hear the barking of the watchdog from the opposite shore of the Hudson; but it was so vague and faint as only to give an idea of his distance from this faithful companion of man. Now and then, too, the long-‐drawn crowing of a cock, accidentally awakened, would sound far, far off, from some farmhouse away among the hills—but it was like a dreaming sound in his ear. No signs of life occurred near him, but occasionally the melancholy chirp of a cricket, or perhaps the guttural twang of a bullfrog from a neighboring marsh, as if sleeping uncomfortably and turning suddenly in his bed.

All the stories of ghosts and goblins that he had heard in the afternoon now came crowding upon his recollection. The night grew darker and darker; the stars seemed to sink deeper in the sky, and driving clouds occasionally hid them from his sight. He had never felt so lonely and dismal. He was, moreover, approaching the very place where many of the scenes of the ghost stories had been laid. In the centre of the road stood an enormous tulip-‐tree, which towered like a giant above all the other trees of the neighborhood, and formed a kind of landmark. Its limbs were gnarled and fantastic, large enough to form trunks for ordinary trees, twisting down almost to the earth, and rising again into the air. It was connected with the tragical story of the unfortunate André, who had been taken prisoner hard by; and was universally known by the name of Major André's tree. The common people regarded it with a mixture of respect and superstition, partly out of sympathy for the fate of its ill-‐starred namesake, and partly from the tales of strange sights, and doleful lamentations, told concerning it.

As Ichabod approached this fearful tree, he began to whistle; he thought his whistle was answered; it was but a blast sweeping sharply through the dry branches. As he approached a little nearer, he thought he saw something white, hanging in the midst of the tree: he paused and ceased whistling but, on looking more narrowly, perceived that it was a place where the tree had been scathed by lightning, and the white wood laid bare. Suddenly he heard a groan—his teeth chattered, and his knees smote against the saddle: it was but the rubbing of one huge bough upon another, as they were swayed about by the breeze. He passed the tree in safety, but new perils lay before him.

About two hundred yards from the tree, a small brook crossed the road, and ran into a marshy and thickly-‐wooded glen, known by the name of Wiley's Swamp. A few rough logs, laid side by side, served for a bridge over this stream. On that side of the road where the brook entered the wood, a group of oaks and chestnuts, matted thick with wild grape-‐vines, threw a cavernous gloom over it. To pass this bridge was the severest trial. It was at this identical spot that the unfortunate André was captured, and under the covert of those chestnuts and vines were the sturdy yeomen concealed who surprised him. This has ever since been considered a haunted stream, and fearful are the feelings of the schoolboy who has to pass it alone after dark.

As he approached the stream, his heart began to thump; he summoned up, however, all his resolution, gave his horse half a score of kicks in the ribs, and attempted to dash briskly across the bridge; but instead of starting forward, the perverse old animal made a lateral movement, and ran broadside against the fence. Ichabod, whose fears increased with the delay, jerked the reins on the other side, and kicked lustily with the contrary foot: it was all in vain; his steed started, it is true, but it was only to plunge to the opposite side of the road into a thicket of brambles and alder bushes. The schoolmaster now bestowed both whip and heel upon the starveling ribs of old


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Gunpowder, who dashed forward, snuffling and snorting, but came to a stand just by the bridge, with a suddenness that had nearly sent his rider sprawling over his head. Just at this moment a plashy tramp by the side of the bridge caught the sensitive ear of Ichabod. In the dark shadow of the grove, on the margin of the brook, he beheld something huge, misshapen and towering. It stirred not, but seemed gathered up in the gloom, like some gigantic monster ready to spring upon the traveller.

The hair of the affrighted pedagogue rose upon his head with terror. What was to be done? To turn and fly was now too late; and besides, what chance was there of escaping ghost or goblin, if such it was, which could ride upon the wings of the wind? Summoning up, therefore, a show of courage, he demanded in stammering accents, "Who are you?" He received no reply. He repeated his demand in a still more agitated voice. Still there was no answer. Once more he cudgelled the sides of the inflexible Gunpowder, and, shutting his eyes, broke forth with involuntary fervor into a psalm tune. Just then the shadowy object of alarm put itself in motion, and with a scramble and a bound stood at once in the middle of the road. Though the night was dark and dismal, yet the form of the unknown might now in some degree be ascertained. He appeared to be a horseman of large dimensions, and mounted on a black horse of powerful frame. He made no offer of molestation or sociability, but kept aloof on one side of the road, jogging along on the blind side of old Gunpowder, who had now got over his fright and waywardness.

Ichabod, who had no relish for this strange midnight companion, and bethought himself of the adventure of Brom Bones with the Galloping Hessian, now quickened his steed in hopes of leaving him behind. The stranger, however, quickened his horse to an equal pace. Ichabod pulled up, and fell into a walk, thinking to lag behind,—the other did the same. His heart began to sink within him; he endeavored to resume his psalm tune, but his parched tongue clove to the roof of his mouth, and he could not utter a stave. There was something in the moody and dogged silence of this pertinacious companion that was mysterious and appalling. It was soon fearfully accounted for. On mounting a rising ground, which brought the figure of his fellow-‐traveller in relief against the sky, gigantic in height, and muffled in a cloak, Ichabod was horror-‐struck on perceiving that he was headless!—but his horror was still more increased on observing that the head, which should have rested on his shoulders, was carried before him on the pommel of his saddle! His terror rose to desperation; he rained a shower of kicks and blows upon Gunpowder, hoping by a sudden movement to give his companion the slip; but the spectre started full jump with him. Away, then, they dashed through thick and thin; stones flying and sparks flashing at every bound. Ichabod's flimsy garments fluttered in the air, as he stretched his long lank body away over his horse's head, in the eagerness of his flight.

They had now reached the road which turns off to Sleepy Hollow; but Gunpowder, who seemed possessed with a demon, instead of keeping up it, made an opposite turn, and plunged headlong downhill to the left. This road leads through a sandy hollow shaded by trees for about a quarter of a mile, where it crosses the bridge famous in goblin story; and just beyond swells the green knoll on which stands the whitewashed church.

As yet the panic of the steed had given his unskilful rider an apparent advantage in the chase, but just as he had got half way through the hollow, the girths of the saddle gave way, and he felt it slipping from under him. He seized it by the pommel, and endeavored to hold it firm, but in vain; and had just time to save himself by clasping old Gunpowder round the neck, when the saddle fell to the earth, and he heard it trampled under foot by his pursuer. For a moment the terror of Hans Van Ripper's wrath passed across his mind,—for it was his Sunday saddle; but this was no time for petty fears; the goblin was hard on his haunches; and (unskilful rider that he was!) he had much ado to maintain his seat; sometimes slipping on one side, sometimes on another, and sometimes jolted on the high ridge of his horse's backbone, with a violence that he verily feared would cleave him asunder.

An opening in the trees now cheered him with the hopes that the church bridge was at hand. The wavering reflection of a silver star in the bosom of the brook told him that he was not mistaken. He saw the walls of the church dimly glaring under the trees beyond. He recollected the place where Brom Bones's ghostly competitor had disappeared. "If I can but reach that bridge," thought Ichabod, "I am safe." Just then he heard the black steed panting and blowing close behind him; he even fancied that he felt his hot breath. Another convulsive kick in the ribs, and old Gunpowder sprang upon the bridge; he thundered over the resounding planks; he gained the opposite side; and now Ichabod cast a look behind to see if his pursuer should vanish, according to rule, in a flash of fire and brimstone. Just then he saw the goblin rising in his stirrups, and in the very act of hurling his head at him. Ichabod endeavored to dodge the horrible missile, but too late. It encountered his cranium with a tremendous crash,—he was tumbled headlong into the dust, and Gunpowder, the black steed, and the goblin rider, passed by like a whirlwind.


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The next morning the old horse was found without his saddle, and with the bridle under his feet, soberly cropping the grass at his master's gate. Ichabod did not make his appearance at breakfast; dinner-‐hour came, but no Ichabod. The boys assembled at the schoolhouse, and strolled idly about the banks of the brook; but no schoolmaster. Hans Van Ripper now began to feel some uneasiness about the fate of poor Ichabod, and his saddle. An inquiry was set on foot, and after diligent investigation they came upon his traces. In one part of the road leading to the church was found the saddle trampled in the dirt; the tracks of horses' hoofs deeply dented in the road, and evidently at furious speed, were traced to the bridge, beyond which, on the bank of a broad part of the brook, where the water ran deep and black, was found the hat of the unfortunate Ichabod, and close beside it a shattered pumpkin.

The brook was searched, but the body of the schoolmaster was not to be discovered. Hans Van Ripper as executor of his estate, examined the bundle which contained all his worldly effects. They consisted of two shirts and a half; two stocks for the neck; a pair or two of worsted stockings; an old pair of corduroy small-‐clothes; a rusty razor; a book of psalm tunes full of dog's-‐ears; and a broken pitch-‐pipe. As to the books and furniture of the schoolhouse, they belonged to the community, excepting Cotton Mather's "History of Witchcraft," a "New England Almanac," and a book of dreams and fortune-‐telling; in which last was a sheet of foolscap much scribbled and blotted in several fruitless attempts to make a copy of verses in honor of the heiress of Van Tassel. These magic books and the poetic scrawl were forthwith consigned to the flames by Hans Van Ripper; who, from that time forward, determined to send his children no more to school, observing that he never knew any good come of this same reading and writing. Whatever money the schoolmaster possessed, and he had received his quarter's pay but a day or two before, he must have had about his person at the time of his disappearance.

The mysterious event caused much speculation at the church on the following Sunday. Knots of gazers and gossips were collected in the churchyard, at the bridge, and at the spot where the hat and pumpkin had been found. The stories of Brouwer, of Bones, and a whole budget of others were called to mind; and when they had diligently considered them all, and compared them with the symptoms of the present case, they shook their heads, and came to the conclusion that Ichabod had been carried off by the Galloping Hessian. As he was a bachelor, and in nobody's debt, nobody troubled his head any more about him; the school was removed to a different quarter of the hollow, and another pedagogue reigned in his stead.

It is true, an old farmer, who had been down to New York on a visit several years after, and from whom this account of the ghostly adventure was received, brought home the intelligence that Ichabod Crane was still alive; that he had left the neighborhood partly through fear of the goblin and Hans Van Ripper, and partly in mortification at having been suddenly dismissed by the heiress; that he had changed his quarters to a distant part of the country; had kept school and studied law at the same time; had been admitted to the bar; turned politician; electioneered; written for the newspapers; and finally had been made a justice of the Ten Pound Court. Brom Bones, too, who, shortly after his rival's disappearance conducted the blooming Katrina in triumph to the altar, was observed to look exceedingly knowing whenever the story of Ichabod was related, and always burst into a hearty laugh at the mention of the pumpkin; which led some to suspect that he knew more about the matter than he chose to tell.

The old country wives, however, who are the best judges of these matters, maintain to this day that Ichabod was spirited away by supernatural means; and it is a favorite story often told about the neighborhood round the winter evening fire. The bridge became more than ever an object of superstitious awe; and that may be the reason why the road has been altered of late years, so as to approach the church by the border of the millpond. The schoolhouse being deserted soon fell to decay, and was reported to be haunted by the ghost of the unfortunate pedagogue and the plowboy, loitering homeward of a still summer evening, has often fancied his voice at a distance, chanting a melancholy psalm tune among the tranquil solitudes of Sleepy Hollow.


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Reading Group Guide Rubric:

4 3 2 1 • The reading guide has an

adequate number of questions, which are organized in a logical order to guide the reader through the entire novel.

• The reading guide includes an adequate number of questions which are organized to guide the reader through the novel.

• The reading guide includes questions about the novel.

• The reading guide includes questions that may relate to the novel.

• The questions are well-‐crafted and specific to the novel. Each question requires thought, has multiple answers, and is tied to the characters, setting, events, and vocabulary of the novel.

• The questions are specific to the novel. Each question requires thought, has multiple answers, and is tied to the characters, setting, events, and vocabulary of the novel.

• The questions are about the novel. The questions are tied to the characters, setting, events, and vocabulary of the novel.

• The questions are mostly about the novel and may ask about the characters, setting, events, and vocabulary of the novel.

• Each question is answerable only through reading the novel.

• Each question is answerable through reading the novel.

• The answers to the questions are related to the novel.

• The answers to the questions may be difficult to determine.

• Use of conventions includes no errors.

• Use of conventions includes few errors that do not interfere with understanding.

• Use of conventions includes several errors that may interfere with understanding.

• Use of conventions includes many errors that interfere with understanding.


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