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secondary subject overview

Literature

Students will• Read a broad range of literature from different cultures, time periods, and genres

• Analyze texts for their technical literary elements

• Read for deep comprehension of texts’ ideas and meanings

• Evaluate ideas and content from a biblical worldview

• Develop critical thinking skills

ContentsProgram Approach

Structured Scope 3

Textbooks 3

Literary Analysis 4

Biblical Worldview 6

Literary Elements 8

Interdisciplinary 10

The Materials 12

Technology Solutions 14

The primary goal for secondary literature is to help students understand their fellow human beings and to live godly lives in a fallen world.

Our Vision

3

Textbook Descriptions

TextbooksCourse

Explorations in Literature

Students study a diverse compilation of texts from a variety of authors and genres to develop critical thinking skills.

Excursions in Literature

Students gain an understanding of literary techniques as they study a rich collection of works.

Fundamentals of Literature

Students will encounter classic American, British, and world authors. As they focus on fundamental themes of literature, they learn to become discerning readers.

Elements of Literature

This course reveals the method and importance of literary analysis. Instruction helps to develop students’ literary skills as they practice tech-niques of analysis.

American Literature

Students are introduced to more than seventy authors, and they will examine the Colonial-Revolutionary, Romantic, Realistic, Naturalistic, and Modern periods as well as issues relevant to each period, such as Darwinism and religious liberalism.

British Literature

Students will discuss literary selections and cultural issues from eight pe-riods: Old English, Middle English, Tudor, Stuart, Neoclassical, Romantic, Victorian, and Modern. They will learn to evaluate themes and cultural issues from a biblical worldview.

BJU Press literature courses teach students to read for wisdom and enrichment as well as for pleasure. Each literature book includes a broad range of literary selections from different cul-tures, genres, and time periods. In addition to analyzing literary elements and interpretating meanings in a selection, your students will learn how to evaluate literature from a biblical worldview.

Structured ScopeBJU Press literature uses different instructional approaches based on grade level. In Grades 7 and 8, the approach is thematic. Grades 9 and 10 introduce a critical literary approach with literature from various cultures and genres. A historical approach in Grades 11 and 12 focuses on analysis and biblical evaluation of the historical and cultural content of each author’s work.

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Studies in literature should go beyond introducing students to beautiful texts. As students engage with literature, they should learn how to recognize the characteristics of the text, fol-low the major themes of the story, analyze the execution of the story, and discuss the value of the work. To do that, we incorporate a reading process approach into all of our literature textbooks. This approach equips students with necessary information while encouraging them to engage with the text on multiple levels over several readings.

• Before reading, students will be given all necessary information pertaining to the text, such as literary terms, author biographies, and major historical events.

• During reading, students will find callouts that encourage them to actively think about the selection. These callouts may require students to reread portions of the selection or draw on background information.

• After reading, students will tie together the concepts they learned before reading with what they discovered during reading. They will be prompted to discuss what they found and the text.

The reading process helps students to constantly scaffold new information with old informa-tion by beginning with a foundation of knowledge and then building on that knowledge until they can discuss the work of literature intelligently.

BIOGRAPHY

NALYZE: Point of ViewGordimer was writing during a time when two groups in South Africa had

radically different desires for their culture. It is against this backdrop that her story employs a unique point of view (p. 394). Gordimer’s narrative style both reflects her artistic goals and underscores the theme of the story. Is the narrator omniscient or limited? Is he detached from the thoughts and feelings of the protagonist? Does the narrator stay aloof from other characters?

EAD: Make and Check PredictionsOne reading skill that allows you to focus on the plot of a story is making

and checking predictions. In the following story, Gordimer’s political aims play a role in directing the story’s events, and her characters do not escape the influence of systemic prejudice. Predict how the protagonist will act in the political struggle. What impact will his decisions have? Are there any events in the story that you did not predict or that violated your expectations (situational irony, p. 88)? If so, how does this irony communicate Gordimer’s theme? How do you think the story’s conflicts will resolve? If the conflicts do resolve, who will benefit the most?

VALUATE: Effects of PrejudiceGordimer observed the effects of prejudice all around her in South Africa.

Though she did not claim to adhere to Christianity, her perspective does echo some biblical teachings. For instance, what does she say about people’s duties to each other? How does her message compare to that of Galatians 3:23–29? How do her implied solutions uphold biblical Truth and Goodness?

OBJECTIVES � Describe the narrator’s point of view.

� Make and check predictions about the story.

� Infer how irony conveys the story’s theme.

� Evaluate from a biblical world-view the author’s message about the effects of prejudice.

VOCABULARYdomestic (dә -mĕs’tĭk) adj. Of or relating to the family or household.

mishap (mĭs’hăp’) n. An unfortu-nate accident.

infiltrator (ĭn-fĭl’trāt-ә r) n. One who infiltrates (v. to penetrate with hostile intent).

negligence (nĕg’lĭ-jә ns) n. Failure to use the degree of care appropri-ate to the circumstances, resulting in an unintended injury to another.

BEFORE READING

Nadine Gordimer was a South African novelist and short-story writer whose fiction depicts her home-land’s tangled racial dynamics. Although she was born into a white family that benefited from South Af-rica’s racial caste system, Gordimer’s search for truth led her to uncover that system’s dehumanizing effects. Even after racial injustice became entrenched by apart-heid in 1948, she continued to advo-cate against apartheid until its demise.

Gordimer was born in Springs in northeast South Africa. She was con-sidered a sickly child and received little formal schooling. But she read widely and, at fifteen, published her first short story. Her first book was a short-story collection, Face to Face (1949). In 1948 she moved to Johannes-burg, the country’s capital, which became her home for the rest of her life. There her stories gained increasing international attention.

In 1960 Gordimer responded to government vio-lence by actively involving herself in the anti-apartheid movement. Although she didn’t consider her writing

political, her depictions of life under apartheid fur-thered the anti-apartheid cause. Her accurate docu-mentary led to the government’s banning three of her

novels. Heedless of the bans, she wrote critically acclaimed novels such as The Conservationist

(1974), Burger’s Daughter (1979), and July’s People (1981). After apartheid fell in

1991—the same year she was awarded the Nobel Prize in Literature—she continued to document the complex-ity of South African life. She died in 2014.

Rather than present apartheid-era whites in a wholly negative light, Gordimer examines the ambiguities

of the white experience, detailing how whites are often blind to their role in

oppression. And while Gordimer por-trays how apartheid dehumanizes non-

white members of the community, she also celebrates that they find human dignity despite

a crushing regime and that South Africans from all races are bound to each other by the threads of shared existence.

Nadine Gordimer (1923–2014)

NADINE GORDIMER 653

• British Literature, 3rd edition

Literary Analysis

55

To the Teacherxii

146 Chapter 4: Minor Romantics

MINOR ROMANTICS

KNICKERBOCKERS

NEW ENGLAND SCHOOL

WASHINGTON IRVING

Objectives 1. Distinguish the Knickerbockers from the

New England School and identify the group to which each author belongs.

2. Explain factors contributing to the emer-gence of a distinctive American literature.

3. Determine whether characters in a short story are round or flat and sympathetic or unsympathetic.

4. Trace four emphases of literary romanti-cism throughout a short story.

5. Identify some of the distinctly American characteristics in a short story.

6. Evaluate an author’s characterization from a biblical worldview.

LESSON SUPPORT

Teacher’s EditionThink and Discuss Answers—pp. 161–62Themes in American Culture Answer—p. 162Writing Lesson 2: Persuasive Essay—

pp. W3–W4

Teacher’s Toolkit CDTeaching Helps 4C–4DSupplemental Text 4A

MaterialsPictures of the Catskill Mountains

modeRn AmeRicAn poetRy

1575 1600 1625 1650 1675 1700

1630–1651—Of Plymouth Plantationc. 1635– c. 1678—Mary Rowlandson

c. 1400–1600—Forming of the Iroquois Confederacy

1607—Settlement of Jamestown

1565—Founding of St. Augustine as a Spanish fort

1611—Publication of King James Version of the Bible

1620—Founding of Plymouth

1630—Establishment of Massachusetts Bay Colony

1636—Founding of Harvard College

1642–1646—English Civil War

1649–1660—Puritan Commonwealth

1660—Restoration of Stuart line

1662—Enactment of Halfway Covenant

1580–1631—John Smith

1608—A True Relation

1624—A General History

1590–1657—William Bradford

1682—A Narrative of the Captivity. . .

chapter

1Precolonial–1820—Early American Literature

minoR RomAntics

18001775 1825 1850 1875 1900

1841—The Deerslayer1794–1878—William Cullen Bryant

1828—An American Dictionary (N. Webster) 1833—Founding of American Anti-Slavery Society

1844—Telegraph transmission from Washington, DC, to Baltimore

1846–48—Mexican War

1849—Beginning of California Gold RushCompromise of 1850

1852—Connection of New York and Chicago by railroad

1783–1859—Washington Irving1820—The Sketch Book

1789–1851—James Fenimore Cooper

1821—Poems

chapter

41820—Missouri Compromise 1825—Opening of Erie Canal

1859—On the Origin of Species (Darwin) 1861–65—Civil War

1838—“A Psalm of Life”

1807–92—John Greenleaf Whittier

1807–82—Henry Wadsworth Longfellow

1850—“Ichabod”

1820–65—American Romanticism

1842—“Mezzo Cammin”

1852—“First-Day Thoughts”

1809–94—Oliver Wendell Holmes1830—“Old Ironsides” 1858—“The Chambered Nautilus”

1848—A Fable for Critics 1867—The Biglow Papers: Series Two

1819–91—James Russell Lowell

Chapter 4 OverviewDays Topic Pages Support Materials

37 Unit 2: American Romanticism 140–45 Teaching Helps 4A–4B

38–40 Knickerbockers/New England School Washington Irving: “Rip Van Winkle”

146–62 Teaching Helps 4C–4DSupplemental Text 4A

41 Writing Lesson 2: Persuasive Essay W3–W4 Writing Rubric 2

42–43 James Fenimore Cooper: The Deerslayer 163–71 Teaching Help 4E–4GSupplemental Text 4B

44 William Cullen Bryant: “Thanatopsis,” ”To a Waterfowl” 172–77 Teaching Helps 4H–4I

45 Henry Wadsworth Longfellow: “Psalm of Life,” ”Mezzo Cammin” 178–80 Supplemental Text 4C

46 John Greenleaf Whittier: “Ichabod,” “First-Day Thoughts” 181–83 Teaching Help 4J

47 James Russell Lowell: A Fable for Critics, ”The Courtin’” 184–88 Teaching Helps 4K–4MSupplemental Texts 4D–4E

48 Oliver Wendell Holmes: “Old Ironsides,” ”The Chambered Nautilus” 189–92

49 Chapter 4 Review 193 Answers, pp. R10–R11

50 Chapter 4 Test

4

298 Chapter 6: Voices of Conflict

Art Requests or notes to Design/Page Layout go here.

BIO

GR

AP

HY

298 Chapter 6: Voices of Conflict

Born into slavery in Maryland, Frederick Douglass be-came one of the most eloquent and influential re formers in American history.

Resistant SlaveRaised by his grandparents, Frederick Augustus Wash-ington Bailey met his mother only a few times and never knew his father. Around the age of eight, he began working as a house servant; later he became a field and shipyard worker. He became convinced of the value of literacy for freedom and, despite laws against slave lit-eracy, secretly taught himself and other slaves to read and write. After an unsuccessful escape attempt, Fred-erick was sent to a cruel master known for his ability to break the will of defiant slaves. After an especially vi-cious beating, Frederick fought back against the master and won. He continued working as a slave but without any further beatings. He later said this episode taught him that resistance was necessary for freedom.

Abolitionist OratorIn 1838 Frederick successfully escaped first to New York City and then to New Bedford, Massachusetts, where he married Anna Murray, a free black servant, and changed his name to Frederick Douglass to elude re-capture. He worked a variety of manual jobs to support his growing family, became an active member of the African Methodist Episcopal Zion church, and began speaking about his experiences at abolitionist con-ventions. By 1841, he was a regular traveling speaker for the Massachusetts Anti-Slavery Society. His impos-ing physical presence and resonant voice enriched his compelling personal story to great effect.

To counter accusations that he was too eloquent to have been a slave, Douglass wrote an auto biography, Narrative of the Life of Frederick Douglass. Details in the book put him in danger of recapture, so he spent the next two years in Great Britain and Ireland lecturing on abolition. In 1847 Douglass returned to America and purchased his freedom with funds from English sup-porters. The funds also allowed him to begin an anti-slavery newspaper, North Star. The following year, Dou-glass attended the first Woman’s Rights Convention, beginning his long association with feminist causes.

Presidential Advisor and Public ServantDuring the 1850s and 1860s, Douglass continued ad-vocating for an end to slavery through resistance and political efforts. After John Brown’s failed raid at Harp-ers Ferry, Virginia, in 1859, Douglass fled the country to escape conspiracy charges. (Despite his friendship with Brown, Douglass had refused to join the raid.) He re-turned in 1860 and campaigned on behalf of Abraham Lincoln. During the Civil War, Douglass advised Lincoln, urging the enlistment of black soldiers in the Union army and then protesting discrimination against them. During Reconstruction, he campaigned for civil rights for black citizens and for women.

Douglass moved to Washington, DC, and from 1871 to 1886 served in several government posts. In 1884, two years after his wife Anna died, he married Helen Pitts, a much younger white feminist. The con-troversial marriage upset both families, but Douglass presented the marriage as proof that blacks and whites could live together peacefully. His public career con-tinued to flourish: Douglass wrote an expanded auto-biography in 1881 and served as US minister and con-sul general to Haiti from 1889 to 1891. In 1895 Frederick Douglass died at home. His influence lives on through his writings and his contributions to freedom and human rights.

Frederick Douglass 1818–95

AT A GLANCE

1826 Taught himself to read and write

1841 Began traveling as an antislavery speaker

1845 Published Narrative of the Life of Frederick Douglass

1860 Campaigned for Abraham Lincoln

1881 Published Life and Times of Frederick Douglass

But it is idle, utterly idle to dream of peace anywhere in this world, while any part of the hu-man family are the victims of marked injustice and oppression.—“The United States Cannot Remain Half-Slave

and Half-Free” (April 16, 1883)

IN HIS OWN WORDS

Build Background • Douglass’s autobiography is an example of a slave narrative, a type of captivity narrative. The form became prevalent as many freed slaves from North America and Great Britain wrote accounts of their enslavement.

• Douglass’s account differs from many slave narratives in that he, being literate, wrote it without assistance. Some slave narratives, like Douglass’s, were written to promote abolition.

• Point out that slavery was legal in Maryland until the Thirteenth Amendment was ratified in 1865.

Set Reading PurposesNALYZE: IRONY AND ANTITHESIS (p. 299)

• Review the definition of irony in the student text. Point out that Douglass specifically uses situational irony in these selections.

• Point out that the narrative also demonstrates frequent use of parallelism, the similarity in the structure of two or more phrases, clauses, or sentences. Review parallelism (p. 88), and then explain how antithesis differs from stan-dard parallelism, using the definition in the student text.

• Model Use the Scripture quotation in the stu-dent text to model antithesis.

EAD: INFER CULTURAL ATTITUDES (p. 299) • Remind students to use the explicit informa-tion given in the text to make their inferences.

FREDERICK DOUGLASS

Objectives 1. Apply author background knowledge to

understand a text. 2. Analyze irony and antithesis in a text and

determine their effect. 3. Infer cultural attitudes by drawing on

details in a text. 4. Evaluate from a biblical perspective the

treatment of slaves in the antebellum South.

LESSON SUPPORT

Teacher’s EditionThink and Discuss Answers—p. 301

MaterialsPictures of signs in a foreign language

BEFORE READING

Motivate • Display street or shopping signs that are printed in Arabic, Chinese, or another non-Western language and that do not have English also printed on them. (See bjupress .com/resources for links to images.) Ask students to read the signs. Pose the follow-ing questions: Which direction should you go to reach a certain destination? Which shop would you find a certain item in? Without being able to read the signs, how could you accomplish your task? (Students will likely express that they cannot read the signs and do not know how to proceed. They would have to depend on someone who could read the signs to help them.) Explain that this lesson explores the relationship between literacy and independence in the life of Frederick Douglass.

• Ask students to recall the genre of the Mary Rowlandson selection (Ch. 1, p. 47). (captivity narrative) Ask them to define or describe this genre. (It relates the capture, sufferings, and escape or rescue of the nar-rator and is told in first person.) Who was Mary, and who took her captive? (She was a European American settler taken captive by Native Americans.) Explain that captiv-ity narratives are not the only first-person accounts told from the perspective of peo-ple taken against their will. Ask students to think of other people whose experience would fit the genre of captivity narrative.(African slaves)

Lesson plans are subdivided under various descriptive headings to make planning easier. The three main sections of each lesson plan are labeled Before Reading, Teach, and After Reading.BEFORE READINGThe lesson plan opens with a Before Reading section, which includes material introduced by the teacher before students begin reading the literature selection. Before Reading content prepares students to read with understanding and purpose. In the TE, this section incorporates three subsections, which appear below.

At the beginning of each lesson plan, a list of Objectives states ob-servable skills that students will need to accomplish by the end of the lesson. Objectives emphasize the concepts introduced in the Before Reading section but may also include additional skills.

The Lesson Support section specifies the locations of teaching ma-terials and supplemental resources, including the location (by TE page numbers) of answers to Think and Discuss and Themes in American Culture questions, relevant materials from the Teacher’s Toolkit CD (see p. xv), and materials occurring only occasionally, such as tests and writing lessons. Chapter Tests are noted only in the final lesson of each unit, and Midterm and Final Exams are sched-uled after the appropriate chapters. Writing Lessons are scheduled in only even-numbered chapters.

Lesson Support may also recommend additional Resources to enhance the lesson or the teacher’s understanding of the material, or list additional Materials used in the lesson.

Build Background

Set Reading Purposes

Motivate sections suggest strategies to engage students and generate excitement about the selection.

Build Background sections offer ways both to teach the biography with purpose and to share additional information about the work’s context.

Motivate

The Set Reading Purposes section suggests strategies for introducing the concepts in the nalyze, ead, and valuate sections as well as the vocabulary list on the Before Reading page. Frequently, this section includes opportunities to model the ideas being introduced. Such opportunities are identified by a Model heading.

LESSON SUPPORT

OBJECTIVES

Lesson Materials

To the Teacher xiii

The Age of Reason 125

war as a glorious cause, using the names “summer soldier” and “sunshine patriot” to describe those men willing to defend their country only in less difficult times. He compares the “tyranny” of British domination to “hell” and says that being “bound in that manner” is “slavery” and that the term bound itself is “impious.”

4. [understand] Even though Paine seems to try to convince his hearers through careful reasoning, he is really seeking an emotional response. The tone of his work clearly indi-cates a propagandistic motive to persuade the colonists that their cause is noble.

5. [analyze] Paine uses glittering generalities and, to a heavier extent, transfer, name calling, and card stacking. See highlights for examples.

6. [understand] In the last sentence of para-graph 6, Paine professes, “My own mind is my own church.”

7. [analyze] In The Crisis, No. 1 Paine pres-ents himself as a Christian (“with all the devotion of a Christian”) and frequently appeals to Christian revelation, including the idea of divine providence. In The Age of Reason, he flatly attacks Christianity (as well as any other organized church or belief system) and upholds a rationalistic religion (deism). While Paine acknowl-edges Christ’s historical existence (His humanity), he denies Christ’s deity. Paine indicates in the first chapter that this work is his religious creed, what he truly believes. Students may express the idea that Paine uses Christian appeals in The Crisis, No. 1 as propaganda to persuade his audience many or most of whom were Christians.

8. [evaluate] Students should recognize the importance of evaluating an author’s claims and supports in light of Scripture. They should not blindly accept a propo-sition because someone has attached a Christian argument to it. They should ask whether Scripture truly and logically sup-ports what the author is saying or whether the author is merely employing propa-ganda (purposefully or unintentionally). The author’s character and worldview should also be considered; for example, if a writer does not believe the Bible is the Word of God or if he has taken positions that cannot be supported biblically, then his appeals to Christian religion should not be taken seriously.

EnrichWRITING LINK The blogosphere abounds with articles that use propaganda. Have students or groups of students evaluate a blog (or opinion pieces in periodicals). Students can write a critique, commending sound argumentation and ex-posing weak, propagandistic argumentation.

AFTER READING

Review and AssessTHINK AND DISCUSS ANSWERS

1. [remember] Paine wrote The Crisis, No. 1 to encourage the soldiers that their cause was worth whatever sacrifice was necessary and to encourage them to continue in their fight. In the second sentence, paragraph 1, he says that the soldier who “shrink[s] from the service of [his] country” is no better than a “summer soldier” or “sunshine patriot.” He goes on to say, however, that those who do not shrink “[deserve] the love and thanks of man and woman.” In the seventh paragraph, he tells the brave soldiers to “lay your shoul-ders to the wheel; better have too much force than too little, when so great an object is at

stake.” These lines as well as others from the selection express Paine’s purpose of encour-agement.

2. [remember] Paine claims his reasoning is “as straight and clear as a ray of light.” He says that he would never wage an offensive war; he considers that kind of war the same as murder. He considers the Revolutionary War, however, a defensive effort, and he compares the Brit-ish to robbers who would break into and burn his house and kill him. He concludes that he has the right to defend himself whether the intruder is “a king or a common man.”

3. [understand, analyze] Paine establishes his tone by careful word choice to achieve his desired effect. To arouse the animosity of soldiers toward the British, he disparages both the British and those colonists who are neutral or loyal to the king. He portrays the

125

rection and ascension, it was the necessary counterpart to the story of his birth. His historians, having brought him into the world in a supernatural manner, were obliged to take him out again in the same manner, or the first part of the story must have fallen to the ground.

The wretched contrivance4 with which this latter part is told, exceeds every-thing that went before it. The first part, that of the miraculous conception, was not a thing that admitted of5 publicity; and therefore the tellers of this part of the story had this advantage, that though they might not be credited, they could not be de-tected. They could not be expected to prove it, because it was not one of those things that admitted of proof, and it was impossible that the person of whom it was told could prove it himself.

But the resurrection of a dead person from the grave, and his ascension through the air, is a thing very different, as to the evidence it admits of, to the invisible con-ception of a child in the womb. The resurrection and ascension, supposing them to have taken place, admitted of public and ocular demonstration, like that of the ascension of a balloon, or the sun at noon day, to all Jerusalem at least. A thing which everybody is required to believe, requires that the proof and evidence of it should be equal to all, and universal; and as the public visibility of this last related act was the only evidence that could give sanction to the former part, the whole of it falls to the ground, because that evidence never was given. Instead of this, a small number of persons, not more than eight or nine, are introduced as proxies for the whole world, to say they saw it, and all the rest of the world are called upon to believe it. But it appears that Thomas did not believe the resurrection; and, as they say, would not believe without having ocular and manual demonstration himself. So neither will I; and the reason is equally as good for me, and for every person, as for Thomas.6

4. contrivance: trick5. that . . . of: by nature allowed6. So . . . Thomas: cf. John 20:24–29; 1 Peter 1:8–9; 2 Peter 1:19–21; 2 Timothy 3:14–15

Discernment: Why does Paine argue that the account of the Gospels is untrustworthy? How logical is this argument?

ocular (ŏk’yә-lәr) adj. Of or relating to the eye.

proxy (prŏk’sē) n. One appointed or authorized to act for another, espe-cially a person appointed to vote as one wishes at a meeting.

the age of Reason

af

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Think and Discuss 1. What is Paine’s purpose for writing The Crisis, No. 1? In which sentences does Paine state this

purpose?

2. Summarize Paine’s argument in paragraph 7 of The Crisis, No. 1 that the colonial soldiers in the Revo-lutionary War are not rebels. To what does Paine compare his “own line of reasoning”? To what does he compare “an offensive war”? To what does he compare the Revolutionary War?

3. Paine’s tone in The American Crisis tracts might be best described as one of emotional fervor. How does he establish this tone in the first paragraph of No.1? What strongly negative words does he use? To whom or what do these negative words refer?

4. Notice the following statement from a letter by Paine to Silas Deane: “The mind of a living public . . . feels first and reasons afterwards” (395). In light of this statement and your analysis of Paine’s tone, how do you think he expected his readers to respond to his tract?

5. Which propaganda techniques are prominent in The Crisis, No. 1? Give examples.

6. In what one brief sentence in Chapter 1 of The Age of Reason does Paine sum up the philosophy of rationalism, the theory that the only valid basis for man’s belief or action is his own reason?

7. Contrast how Paine presents two perspectives to religion in the two texts. Which perspective does he say is his true belief? Why do you think he gives a false impression in the other text?

8. How should you respond when a writer or speaker uses Christianity, as Thomas Paine did, to sup-port his position?

78 Chapter 2: Literature of Religious Experience

78 Chapter 2: Literature of Religious Experience

from Sinners in the Hands of an Angry GodDeuteronomy 32:35. Their foot shall slide in due time.1

The expression I have chosen for my text, “Their foot shall slide in due time,” seems to imply the following things relating to the punishment and destruction to which these wicked Israelites were exposed.

1. That they were always exposed to destruction; as one that stands or walks in slippery places is always exposed to fall. . . .

2. It implies, that they were always exposed to sudden unexpected destruction. As he that walks in slippery places is every moment liable to fall, he cannot foresee one moment whether he shall stand or fall the next; and when he does fall, he falls at once without warning. . . .

3. Another thing implied is, that they are liable to fall of themselves, without being thrown down by the hand of another; as he that stands or walks on slippery ground needs nothing but his own weight to throw him down.

4. That the reason why they are not fallen already, and do not fall now, is only that God’s appointed time is not come. For it is said, that when that due time, or appointed time comes . . . God will not hold them up in these slippery places any longer, but will let them go. . . .

The observation from the words that I would now insist upon is this. “There is nothing that keeps wicked men at any one moment out of hell, but the mere pleasure of God.” By the mere pleasure of God, I mean his sovereign pleasure, his arbitrary will, restrained by no obligation, hindered by no manner of difficulty, any more than if nothing else but God’s mere will had in the least degree, or in any respect whatso-ever, any hand in the preservation of wicked men one moment. The truth of this observation may appear by the following considerations.

1. There is no want of power in God to cast wicked men into hell at any moment. Men’s hands cannot be strong when God rises up. The strongest have no power to resist him, nor can any deliver out of his hands. He is not only able to cast wicked men into hell, but he can most easily do it. Sometimes an earthly prince meets with a great deal of difficulty to subdue a rebel, who has found means to fortify himself, and has made himself strong by the numbers of his followers. But it is not so with God. There is no fortress that is any defense from the power of God. Though hand join in hand, and vast multitudes of God’s enemies combine and associate them-selves, they are easily broken in pieces. They are as great heaps of light chaff before the whirlwind; or large quantities of dry stubble before devouring flames. We find it easy to tread on and crush a worm that we see crawling on the earth; so it is easy for us to cut or singe a slender thread that any thing hangs by: thus easy is it for God, when he pleases, to cast his enemies down to hell. What are we, that we should think to stand before him, at whose rebuke the earth trembles, and before whom the rocks are thrown down?

2. They deserve to be cast into hell; so that divine justice never stands in the way, it makes no objection against God’s using his power at any moment to destroy them. Yea, on the contrary, justice calls aloud for an infinite punishment of their sins. . . . The sword of divine justice is every moment brandished over their heads, and it is nothing but the hand of arbitrary mercy, and God’s mere will, that holds it back.

3. They are already under a sentence of condemnation to hell. They do not only justly deserve to be cast down thither, but the sentence of the law of God, that eternal and immutable rule of righteousness that God has fixed between him and man-kind, is gone out against them, and stands against them; so that they are bound over already to hell. John 3:18: “He that believeth not is condemned already.”2 So that

1. Deuteronomy 32:35: “To me belongeth vengeance and recompense; their foot shall slide in due time: for the day of their calamity is at hand, and the things that shall come upon them make haste.”

2. John 3:18: “He that believeth on him is not condemned: but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God.”

Imagery: What simile does Edwards use to illustrate the Israelites’ danger of falling?

Puritan Sermon Structure: Reread the sentence in quotation marks in this paragraph. What part of the Puri-tan sermon structure does it express? What part of the sermon do you think will follow, given the numbering in the next section?

Visual Analysis: How does the image (facing page) compare to the description of the sinner’s situation on this page? Why do you think the artist depicted just a foot and not a complete person? What do you think the encircling smoke represents?

simileanalogyimagery

TEACH

from “Sinners in the Hands of an Angry God”

• Prior to analysis, summarize the content of the sermon together. Use students’ answers on Teaching Help 2P to help summarize the sections. Doing so will help establish a general understanding of Edwards’s content before looking at more technical elements.

• Point out that Edwards’s interest in psychol-ogy (he dissects his own mind and heart in Personal Narrative) helps him get inside the sinner’s mind and thwart attempts at ration-alization and postponement. Explain that Edwards did not make extravagant emotional appeals beyond tracing out what the Scriptures

say about the sinner’s position. His style is simple and clear, in the plain style, emphasiz-ing the message of the work over the manner of its delivery. He refutes his listeners’ internal justifications with his relentlessly logical lists of reasons and explanations in each section. Edwards creates a logically reasoned wall of arguments, leaving no crack for hearers to break through with excuses.

NALYZE: IMAGERY • Answer He says they were like those that walk or stand on slippery ground.

• Point out that this imagery takes the form of a simile. Direct students to other “slippery” expressions (yellow highlighting) to show how Edwards carries this image through the open-ing lines of his sermon.

(paragraphs 20–end). Instruct students to pay attention to how the content of each section fulfills its purpose.

Differentiated Instruction

English Language LearnersAssign ELLs a reading partner to check the summaries they have recorded on Teaching Help 2P. These checks should be made be-fore you teach the lesson.

• Encourage students to read the sermon aloud (or if time allows, do so in class), because it was designed to be read aloud. This will also help students grasp its ideas.

VALUATE: THE SINNER’S PLIGHT (p. 77) • Explain the opinions included in the Evaluate section. Instruct students to con-sider these evaluations as well as their own responses as they read. They should, how-ever, make their final evaluation by the standard of God’s Word.

VOCABULARY: WORDS IN CONTEXT (p. 77) • Read aloud the vocabulary words without their definitions. Display the following context sentences for the first two words: Whet—The chef regularly whetted his kitchen knives to enhance his efficiency. Enmity—Following generations continued the feud, though the original source of enmity between families had been forgot-ten. Invite students to help you construct sentences that use the words correctly. Refer students to the definitions if they have trouble.

ELLELEE LLLL

Visual AnalysisIllustration (p. 79)Answer The image aptly depicts the sin-ner’s precarious position—he “stands or walks on slippery ground.” The artist de-picted just a foot most likely to portray the universal nature of Edwards’s image—the foot could belong to anyone under God’s wrath. The encircling smoke represents the ensnaring power of hell.

Differentiated Instruction strategies are provided for specific student populations including English Language Learners , Advanced Readers, and Struggling Readers.

ELLELEE LLLL

Differentiated Instruction

Visual Analysis

TEACHThe second main portion of the lesson plan is the Teach section, which forms the body of the lesson and offers materials for in-class instruction in four main categories: • The bulk of the lesson consists of information and prompts sup-porting class-wide analysis and discussion of the text.

• The During Reading answers form the framework of this material, offering a platform for deeper analysis.

• Within this analysis, the Discuss heading signals opportunities for students to participate in in-depth discussion.

• Similarly, the Shape Worldview heading denotes materials applying a biblical worldview to the text’s or author’s ideas.

Visual Analysis answers provide support for class discussion of the ST questions, prompting students to study the art selections.

Highlighted NotesHighlighted Notes may appear at the top of TE pages. These notes are color-coded to match a corresponding portion of student text (highlighted on the reduced student page) and provide further com-ment or analysis.

The final main section of each lesson, After Reading, helps solidify students’ understanding and assess their achievement of lesson objec-tives. It also offers suggestions for further study or application of the lesson materials.

AFTER READING

The Review and Assess portion of the After Reading section includes lesson and chapter assessments as applicable. • Think and Discuss answers appear at the end of each lesson and are labeled according to the levels of the revised Bloom’s taxonomy at which they engage student thinking.

• A note in the last lesson of each chapter prompts teachers to use Chapter Review answers (on TE appendix pages R1–R30) and to administer the Chapter Test (test packet sold separately).

The Enrich section offers possible additional assignments to supple-ment the lesson plans in various ways. • Cross-Curricular Links suggest ways to connect literature in-struction to other disciplines, such as science, art, speech, and history.

• Independent Reading suggestions foster in students a love for read-ing and encourage them to read for pleasure outside of class.

• Additional Activities extend the lesson materials to other literary and/or creative tasks, such as comparing texts or composing simi-lar texts.

• A reference to Writing Lessons appears at the end of the first lesson in each even-numbered chapter.

Review and Assess

Enrich

• American Literature Teacher Edition, 3rd edition

6

God uses beautiful literature in the Bible to convey His message. Scripture gives us the best literature known to humanity, including grand epics (Exodus and 2 Samuel), powerful poetry (Isaiah 53), and artful prose (I Corinthians 13). In fact, poetry makes up a quarter of the Bible. Adam composed a poem only a few hours after he was created (Gen. 2:23). Literature plays an important role in the Bible, and therefore the study of literature should be central in bibli-cal worldview education.

Literature, even the works of fallen people, can serve as a tool for the pursuit of God’s glory. By exercising the skills of literary interpretation and technical analysis, students will evaluate selections of literature for merit and biblical worldview. Their evaluations and the conclu-sions that they draw promote cultural literacy. Through literary study and criticism, students learn to engage other cultures and worldviews with discernment.

Biblical Worldview

• British Literature Teacher Edition, 3rd edition

PART NAME 247

UNIT 2: PART 4

C LITERARY BACKGROUNDThe banquet setting is a familiar one in Shakespeare’s plays. In the tragedies a banquet is often an occasion planned by an evil character to ensnare his enemies. Here the reverse actually occurs, for Mac-beth’s frenzied reaction to the appearance of Banquo’s ghost betrays his guilt to the assembly of lords. Banquo, who has in-structed Fleance to escape to avenge his father’s death (3.3.18), achieves retribution through his ghost instead.

D MORE ANALYSIS: MOTIFNote the continuation of the blood motif in line 13.

E PLOT

Close Reading Ask: Based on lines 28–32, do you think Macbeth realizes that Fleance is a threat? (Yes, he says that in time Fleance will be dangerous. Macbeth also remembers the witches’ prophecy that Banquo will be the father of kings.)Answer Macbeth’s scheme was only partially successful. The murderers did kill Banquo, but Fleance escaped. Students will likely conclude that Fleance’s escape may prove problematic for Macbeth in the future.

EVALUATE : RESULTS OF CHOICES <ERespond to Text Ask students to discuss one of the famous points of debate over this scene. Ask: Do you think Macbeth really sees a ghost? What else might be going on? (Answers may vary. Some students may note that Macbeth may be hallucinating. He is certainly becoming more paranoid and unstable as a result of guilt.) Accept either conclusion as long as students are tying their answers to textual details from acts 1–3. Discuss Ask: How is the appearance of Ban-quo’s ghost a way in which Macbeth is paying for his sin? (Macbeth is truly being haunted by his crimes at this point. The ghost of his mur-dered friend is there to exact some of his own

revenge that the dying Banquo asked Fleance to carry out. The ghost’s appearance undermines Lady Macbeth’s claim “What’s done, ’tis done.”)Model To scaffold students toward answering the During Reading question below, provide the information from 248A.Discuss Draw students’ attention to lines 141–43 of scene 4. Discuss During Reading question 251F. Then prompt students to evaluate Mac-beth’s conclusion about why he is hallucinating. Ask: What decision is Macbeth making as he blames his hallucination on a lack of hardness? (He is sidelining his conscience. He is deciding to continue in his current path instead of turning back and repenting.) Follow up on this discus-sion by pointing out another place in this act

in which Macbeth has asked for the effects of conscience to disappear—scene 2, lines 45–56. Refer to the More Analysis section 245F for support and development. Consider Reading Check question 251D as well. Shape Worldview Ask students to consider Macbeth’s actions in light of David’s conversa-tion with Abishai in 1 Samuel 26:9: “And David said to Abishai, Destroy him not: for who can stretch forth his hand against the Lord’s anointed, and be guiltless?” Ask: After hearing the witches’ prophecy about the possibility of his becoming king, what should Macbeth have done? (Answers will vary since almost any course of action would have been preferable to murder. Macbeth could have remained loyal to Duncan. He could have evaluated the witches in light of

A park near the palace at Forres

(Enter three MURDERERS.)FIRST MURDERER. But who did bid thee join us?THIRD MURDERER. Macbeth.SECOND MURDERER. He needs not our mistrust,° since he delivers

Our offices,° and what we have to do, To the direction just.°

FIRST MURDERER. Then stand with us. 5 The west yet glimmers with some streaks of day;

Now spurs the lated traveller apace To gain the timely inn, and near approaches The subject of our watch.

THIRD MURDERER. Hark, I hear horses.BANQUO. (Within.) Give us a light there, ho!SECOND MURDERER. Then ’tis he; the rest

10 That are within the note of expectation° Already are i’ th’ court.

FIRST MURDERER. His horses go about.THIRD MURDERER. Almost a mile; but he does usually,

So all men do, from hence to th’ palace gate Make it their walk.°

(Enter BANQUO and FLEANCE with a torch.)SECOND MURDERER. A light, a light!THIRD MURDERER. ’Tis he.

15 FIRST MURDERER. Stand to’t.BANQUO. It will be rain tonight.FIRST MURDERER. Let it come down.

(They assault BANQUO.)BANQUO. O, treachery! Fly, good Fleance, fly, fly, fly!

Thou mayst revenge. O slave! (Dies. FLEANCE escapes.)THIRD MURDERER. Who did strike out the light?FIRST MURDERER. Was’t not the way? THIRD MURDERER. There’s but one down; the son is fled.

20 SECOND MURDERER. We have lost Best half of our affair.

FIRST MURDERER. Well, let’s away, and say how much is done.(Exeunt.)

2 He . . . mistrust: We need not distrust the Third Murderer.

3 offices: duties

4 To . . . just: exactly according to Mac­beth’s instructions

10 within . . . expectation: expected as guests at the banquet

14 His . . . walk: He is walking his horses for almost the last mile back into the stable, as was customary.

Reading Check: What did not go according to plan in this scene?

UNIT 2: THE ENGLISH RENAISSANCE246

The palace at Forres

(Banquet prepared. Enter MACBETH, LADY MACBETH, ROSS, LENNOX, LORDS, and ATTENDANTS.)

MACBETH. You know your own degrees,° sit down. At first And last, the hearty welcome.

LORDS. Thanks to your Majesty.MACBETH. Ourself will mingle with society,

And play the humble host. 5 Our hostess keeps her state,° but in best time

We will require her welcome.LADY MACBETH. Pronounce it for me, sir, to all our friends,

For my heart speaks they are welcome.(Enter FIRST MURDERER at the door.)

MACBETH. See, they encounter° thee with their hearts’ thanks. 10 Both sides are even; here I’ll sit i’ th’ midst.

Be large in mirth; anon we’ll drink a measure The table round.—

(Goes to [FIRST MURDERER at] the door.)There’s blood upon thy face.

FIRST MURDERER. ’Tis Banquo’s then.MACBETH. ’Tis better thee without than he within.°

Is he dispatch’d? 15 FIRST MURDERER. My lord, his throat is cut,

That I did for him.MACBETH. Thou art the best o’ th’ cut-throats,

Yet he’s good that did the like for Fleance. If thou didst it, thou are the nonpareil.°

FIRST MURDERER. Most royal sir, Fleance is scap’d. 20 MACBETH. Then comes my fit again. I had else been perfect,

Whole as the marble, founded as the rock, As broad and general as the casing° air; But now I am cabin’d, cribb’d,° confin’d, bound in To saucy doubts and fears. But Banquo’s safe?

25 FIRST MURDERER. Ay, my good lord; safe in a ditch he bides, With twenty trenchèd gashes on his head, The least a death to nature.

MACBETH. Thanks for that: There the grown serpent lies; the worm° that’s fled Hath nature that in time will venom breed,

30 No teeth for th’ present. Get thee gone; tomorrow We’ll hear ourselves again.

(Exit FIRST MURDERER.)LADY MACBETH. My royal lord,

You do not give the cheer. The feast is sold That is not often vouch’d, while ’tis a-making, ’Tis given with welcome.° To feed were best at home;

35 From thence, the sauce to meat is ceremony,° Meeting were bare without it.

1 degrees: ranks and hence order of seating

5 state: chair of state

9 encounter: respond to

14 thee . . . within: on your face than in his body

18 nonpareil: matchless one

22 casing: enveloping

23 cribb’d: shut in a hovel, or a small, miserable dwelling

28 worm: young snake

34 The . . . welcome: When a host omits courtesies that assure his guests that they are welcome, the feast is not better than a meal one buys.

35 From . . . ceremony: When one is away from home, courtesies make the meal more pleasant.Plot: Reread lines 13–31. Did Macbeth’s scheme against Banquo and his son succeed? How

or how not? How might this outcome affect his future?

247MACBETH • ACT 3

7

PART #214

UNIT 2: PART 4

Teacher Tips

POTENTIAL PROBLEMS: OCCULTISMThe presence and prominence of the witches in Macbeth may cause a problem for students or parents who are especially sensitive to objectionable elements in lit-erature. Point out that the mere existence of witches is not grounds for regarding a narrative as unedifying and spiritually subversive. An incident involving a witch appears in the Scriptures (1 Sam. 28:7–25).

In fact, a close reading of the play will lead readers to find that the narrative uses the witches to teach scriptural truth. Draw students’ attention to the following ideas as they develop in your class study of the play.

Dramatically, the witches externalize the conflict of good and evil within the soul. They first function as a chorus, pointing out the evil transformation of Macbeth. Furthermore, the play’s tone toward them is correct. The occult appears as sa-tanic deception, a snare for the soul. The witches reveal the nature of temptation by using words equivocally: their speech is superficially true but ultimately false. Their prophecies are thus regarded as insidious and defiling. Finally, they also appear as an element of evil that breaks the good order God’s creation. For example, they are women with beards, and they break natu-ral laws (e.g., come and go through thin air), also disordering the world with curses.

The overall effect of the witches is thus to create a wariness toward all temptations to act contrary to God’s created order, through the occult or by simple rebellion against God and His law. They do not draw the reader into an unwholesome fascina-tion with the occult but rather create a repulsion and wariness toward all solicita-tion to evil.

TEACH

MACBETH, ACT I

Engage Students Prior to class choose three students to be witches and help them practice speaking in character. When class begins, these three students will perform the first twelve lines of the play. To set the play’s atmosphere in the class-room, dim the lights and play a recording of a thunderstorm. These effects will help students imagine the setting of scene 1. Alternatively, play scene one of a film or movie version of Macbeth in order to establish atmo-sphere. Then proceed to a discussion of setting and atmosphere.

» Scene 1UNDERSTAND AND APPLY: ATMOSPHERE <AReview Ask: What is the setting of Macbeth? (The play is set in Scotland at a time when Scandinavian invaders were still harassing the Scottish. [See page 212.] Specifically, the initial setting is a heath, or moor, amidst thunder and lightning.) If needed, review atmosphere (p. 213).Use During Reading question 215D to discuss the setting and atmosphere of scene 1. Point out that the answer acknowledges the appro-priateness of the setting and atmosphere for the appearance of the witches, the first characters to be introduced in the play.

MORE ANALYSIS: CHARACTERS AND THEMES <AUse More Analysis sections 215A–B to ad-dress the following three topics: the beginning development of the witches’ characters and significance, the start of the appearance versus reality theme, and some early examples of Shakespeare’s skilled use of language. Especially draw attention to line 11 (see 215B). Ask: What is the meaning of this paradoxi-cal statement? (Answers will vary, but students may express something along the following lines: things are not what they appear to be; good ap-pears evil and evil appears good.)

Duncan, king of Scotland Malcolm, a son of the kingDonalbain, a son of the kingMacbeth, a general of the king’s armyBanquo, a general of the king’s army Macduff, a nobleman of ScotlandLennox, Ross, Menteith, Angus,

Caithness, other noblemen of Scotland

Fleance, son to BanquoSiward, Earl of Northumberland,

English generalYoung Siward, his sonSeyton, an officer attending on

Macbeth Boy, son to MacduffEnglish Doctor

Scottish Doctor SergeantPorterOld ManThree Murderers Lady Macbeth Lady MacduffGentlewoman attending on Lady

Macbeth Three Witches, the Weird SistersThree other Witches HecateApparitionsLords, Gentlemen, Officers, Soldiers,

Attendants, and Messengers

LADY MACBETH

MALCOLM MACDUFF

MACBETH

BANQUO

UNIT 2: THE ENGLISH RENAISSANCE214

Scene: Scotland, England

A heath°(Thunder and lightning. Enter three WITCHES.)

FIRST WITCH. When shall we three meet again? In thunder, lightning, or in rain?

SECOND WITCH. When the hurly burly’s° done, When the battle’s lost and won.

5 THIRD WITCH. That will be ere the set of sun.FIRST WITCH. Where the place?SECOND WITCH. Upon the heath.THIRD WITCH. There to meet with Macbeth.FIRST WITCH. I come, Graymalkin.°SECOND WITCH. Paddock° calls.

10 THIRD WITCH. Anon.°ALL. Fair is foul, and foul is fair,

Hover through the fog and filthy air.(Exeunt.°)

A camp in Scotland(Alarum° within. Enter KING DUNCAN, MALCOLM, DONALBAIN, LENNOX, with ATTENDANTS, meeting a bleeding SERGEANT.)

DUNCAN. What bloody man is that? He can report, As seemeth by his plight, of the revolt The newest state.

MALCOLM. This is the sergeant, Who like a good and hardy soldier fought

5 ’Gainst my captivity. Hail, brave friend! Say to the King the knowledge of the broil° As thou didst leave it.

SERGEANT. Doubtful it stood, As two spent° swimmers that do cling together And choke their art.° The merciless Macdonwald

10 (Worthy to be a rebel, for to that° The multiplying villainies of nature Do swarm upon him) from the Western Isles° Of kerns and gallowglasses° is supplied, And Fortune, on his damnèd quarrel smiling,

15 Show’d like a rebel’s whore.° But all’s too weak; For brave Macbeth (well he deserves that name), Disdaining Fortune, with his brandish’d steel, Which smok’d with bloody execution,° Like Valor’s minion° carv’d out his passage

heath: a wild, treeless tract of land; a moor

3 hurly burly: tumult, confusion, uproar

8 Graymalkin: “gray cat,” the name of the spirit that possesses the First Witch

9 Paddock: “toad,” the Second Witch’s spirit

10 Anon: at once; spoken to her spirit, Harpier, identified at 4.1.3

Exeunt: stage direction for a group of ac-tors (two or more) to leave the stage

Alarum: trumpet call to arms

6 broil: conflict

8 spent: exhausted

9 choke . . . art: render their swimming skill ineffective

10 for . . . that: to that purpose

12 Western Isles: Hebrides

13 kerns . . . gallowglasses: untrained foot soldiers drawn from the poor class and better-armed retainers

15 rebel’s whore: i.e., with a fickle coun-tenance

18 execution: pronounced as five syllables

19 minion: favorite

Setting/Atmosphere: Based on the details of the setting, how would you describe the atmosphere of scene 1? What might the atmosphere suggest about future events?

plight (plīt) n. A situation, especially a bad or unfortunate one.

MACBETH • ACT 1 215

• British Literature Teacher Edition, 3rd edition

8

Writers often convey meaning indirectly by using literary elements such as metaphors, allegory, symbols, irony, and allusion. As students become more familiar with these ele-ments, they gain a truer sense of the story. In order to help them reach familiarity, definitions of literary elements are woven into our secondary level literature courses. This familiarity is important not just in giving the student additional appreciation of the richness and signifi-cance of artful writing, but in revealing the nuances that may mean the difference between a work of literature that is valuable and a work that is not.

• American Literature, 3rd edition

BIO

GR

AP

HY

606

Li-Young Lee was born in Jakarta, Indonesia, to Chinese political exiles. His father, a devout Christian, had been a personal physician to Mao Zedong. In Indonesia, Lee’s father cofounded a university. He was later imprisoned due to the ethnic persecution prevalent in Indonesia. In 1959 the family left to escape such persecution. They spent several years as refugees, living in Hong Kong, Macau, and Japan before arriving in the United States in 1964. They settled in Seattle but, after brief stays in Maryland and New York City, moved to Pennsylvania so that Lee’s father could attend seminary in Pittsburgh. Lee’s family was poor, and in high school, Lee worked at a car wash to supplement their income.

Lee met his future wife, an Italian American named Donna, at his father’s Presbyterian church when he was in the fifth grade. They married young and had two sons. Lee’s interest in writing developed while he was at the University of Pittsburgh. He left before finishing a degree in part because of family problems. He then attended Arizona University and the State University of New York at Brockport but did not finish at either (the latter, however, awarded him an honorary doctorate in 1998). For a while, he worked full-time making acces-sories for a fashion design company he started with a brother. Since becoming established as a poet, he has taught at several universities.

His first book of poetry, Rose (1986), won the Del-more Schwartz Memorial Poetry Award. Other volumes and awards as well as fellowships followed. The Winged Seed (1995), a memoir of prose and poetry chronicling his family’s journey to the States, won an American Book Award. His poetry is noted for a confluence of Eastern and Western influences, and perhaps this is partly why Lee sees himself as a global rather than Asian American poet. His work often holds in tension the Eastern mysti-cism of his ancestral homeland and his father’s Chris-tianity and the influence of Western romantics. The theme of identity, particularly the struggle to find it, is prominent in Lee’s confessional verse, reflecting a man who still seems not at home on either side of the globe.

Li-Young Leeb. 1957

BEFORE READING

NALYZE: ImagismLi-Young Lee’s style could be described as a blending of romanticism and imag-

ism in the confessional lyric form. While imagism was a brief movement (see p. 441), its emphasis on sharply drawn images presented without commentary persists in the work of modern and contemporary poets. In contemporary poetry such images often appear in juxtaposition, as they do in “Ars Poetica.” Remember also that founders of the move-ment were influenced by the image density of Asian poetic forms, such as haiku. As you read these poems by Li-Young Lee, note the reliance on imagism.

EAD: Compare ThemesMany writers return often to the same subject or theme, so much so that some-

times an author becomes known for writing on a particular topic. For example, you may recall from the previous chapter that John Steinbeck’s fiction deals almost exclusively with societal outsiders. A repeated theme in an author’s work often points to an event, situation, or relationship that had a tremendous effect on him. The similar titles of the following poems, “Eating Alone” and “Eating Together,” readily conjure an association. What event or subject seeded these two pieces? How is it treated in each poem?

VALUATE: The Role of HeritageLike many writers of minority background, Li-Young Lee has been both pigeon-

holed by some as an ethnic writer and inversely criticized by his ethnic peers who claim his success is possible only because his writing is too “white.” What role does cultural heritage play in these poems? Are they distinctly Asian American, or are they universal?

Chapter 11: Contemporary Poetry

608 Chapter 11: Contemporary Poetry

608 Chapter 11: Contemporary Poetry

Eating TogetherIn the steamer is the troutseasoned with slivers of ginger,two sprigs of green onion, and sesame oil.We shall eat it with rice for lunch,brothers, sister, my mother who will 5

taste the sweetest meat of the head,holding it between her fingersdeftly, the way my father didweeks ago. Then he lay downto sleep like a snow-covered road 10

winding through pines older than him,without any travelers, and lonely for no one.

Imagism: What is the predominant image in this poem?

Think and Discuss

AF

TE

R R

EA

DIN

G

1. Throughout many cultures, eating a meal, especially a home-prepared meal, has traditionally been a communal activity. How does that aspect of partaking of a meal play into these two poems?

2. In “Eating Alone” what does the speaker mistakenly see? How is this mistaken sighting foreshad-owed in the first stanza? How do both images reinforce the theme of death?

3. What image does Lee use at the end of “Eating Together”? What is being compared? How does the image affect the tone?

4. Compare the themes of both poems. Explain whether they are tonally the same or different.

5. Are these poems distinctly Asian American, or are they universal? Support your answer.

his confessional style. Similarly, instead of meter, Lee uses parallel sentence structure (pink highlighting) to create cadence that sounds natural. In stanza 4, such structure also serves to link the elliptical phrases de-scribing his meal. (Note how “loneliness” seems thus to be part of the menu.) Often, sound devices such as alliteration (gold highlighting) or assonance (pink highlight-ing) create a subtle emphasis on particular phrases. Perhaps display and read aloud a copy of the poem with the sound devices and parallelism marked.

“Eating Together”

NALYZE: IMAGISM • Answer The poem centers on the ritual of a family meal.

• Discuss What family role in this ritual has changed? (In the absence of the father, the mother now gets the place of honor at the meal, including what Asian cultures tradi-tionally consider the best part of the fish, its head [l. 6].) How does the poem’s final image relate to the first half? What is the poet’s point in this contrast? (Consult the answer to the Think and Discuss question 3.)

• Point out the use of sound devices (see high-lighting above) to emphasize the poem’s cadence and musicality. The final few lines in particular have a sonorous solemnity to them enforced by their sounds and pacing.

EAD: COMPARE THEMES • Discuss How does the overall tone of this meal differ from that in “Eating Alone”? How does the poem further extend the themes of “Eating Alone”? (Consult the an-swers to Think and Discuss questions 3–4.)

• Lee uses human memory in both poems as a natural way of linking ideas and constructing a moment. A certain activ-ity evokes snippets of associated memory and thought. While these do not form a sequential narrative or argument, they are nonetheless deeply related thematically and evoke a similar mood and tone. The read-ers’ task is to infer the underlying link.

VALUATE: THE ROLE OF HERITAGE • Discuss Guide a discussion of the role of cultural heritage in writing. Consult the answer to Think and Discuss question 5 prior to teaching the material and incor-porate the ideas found there. Also, enhance the discussion further with the following information.

• Lee seems to aim toward expressing universal ideas and feelings. The relationship between father and son, a major theme of his, easily qualifies as universal. And his communica-tion of this theme is phrased in ways people anywhere in the world could understand. On the other hand, while his themes are universal, his expression of them reflects the particular circumstances of his life and cultural heritage. In addition, one could argue that his cul-tural blending does shape his concerns. The father-son relationship, though applicable to all cultures, is of special importance to Asian cultures influenced by Confucianism.

• Note Lee’s similarly eclectic use of eastern and western poetic heritages. Remind students that Lee adopted the twentieth-century con-fessional style (western). However, much of his poetry (particularly that of Rose, the book

these poems are taken from) draws directly from his own life experience and personal conflicts. As such, some influence from his eastern heritage is inevitable.

• Lee is noted for his exploration of human memory, but his technique here (presenting elliptical images whose thematic connections readers must infer) owes clearly to the style of classical Chinese poets such as Tu Fu (or Du Fu) and Li Bai, both of whom he admires. Perhaps compare “Eating Alone” to “Jade Flower Palace” by Tu Fu in BJU Press’s Ele-ments of Literature (p. 125). Note similari-ties between the poems: Both are constructed around a series of images, at times almost surreal, that are based in the imagination of the speaker. And both imply their meaning by a summative question at the poem’s end for which readers must supply the answer.

alliterationconsonanceassonancesimile

Literary Elements

9

327High Flight

Lesson Support

Teacher’s Toolkit CDQuiz 7H

Preparation

OverviewIn this traditional sonnet (a type of lyric poem), Magee uses language to mimic the exhilaration of flight at high altitudes. His tone, word choice, rhythm, metaphor—all these work together to produce an experi-ence that sweeps the reader up into the clouds and reanimates the original event.

Teaching Strategies

EvaluationUse Quiz 7H as a reaching check.

MotivationMost students have probably flown either in a commercial or in a private airplane. Ask them whether they enjoy flying. For those who like to fly, what do they enjoy most? Is it the spectacular scenery? Or perhaps it is the feeling of freedom that flying sometimes evokes? Do any of the students have a pilot’s license? Do any plan to get a license in the future? For those who plan to become pilots, what first attracted them to flying?

In addition to the motivating questions, you could generate interest in the experience of f light by introducing students to some free flight simulators that are available on the Internet. Perhaps demonstrating one of these in class (or playing a video that dem-onstrates one) would spark students’ interest in the poem and the experience of flight. See bjupress.com/resources for helpful links.

the last time that Christ would be “home-less.” As He later told His disciples, “Foxes have holes, and birds of the air have nests; but the Son of man hath not where to lay his head” (Luke 9:58). It is ironic that the Cre-ator of all things should have experienced such circumstances. Yet the irony takes on deeper significance when we recognize what He willingly endured for a sin-cursed world.

EnrichmentThose interested in a full explanation of Deuteronomy 15:7–11 and the topic of aid-ing the less fortunate might want to read “Christian Charity or The Duty of Charity to the Poor, Explained and Enforced” by Jonathan Edwards (1732). See bjupress.com/resources for a link to this work.

“High Flight”John Gillespie Magee Jr.

327High Flight

Oh, I have slipped the surly bonds of earth,And danced the skies on laughter-silvered wings;Sunward I’ve climbed and joined the tumbling mirthOf sun-split clouds—and done a hundred thingsYou have not dreamed of—wheeled and soared and swung 5High in the sunlit silence. Hov’ring there,I’ve chased the shouting wind along and flungMy eager craft through footless halls of air.Up, up the long delirious, burning blueI’ve topped the wind-swept heights with easy grace, 10Where never lark, or even eagle, flew;And, while with silent, lifting mind I’ve trodThe high untrespassed sanctity of space,Put out my hand, and touched the face of God.

High FlightJohn GillEsPiE maGEE Jr.

In this famous poem, Magee fulfills the most general demands of the Italian sonnet form, a lyric poem of fourteen lines written in iambic pentameter and combining an octave with a sestet. Yet Magee’s take on this centuries-old form remains fresh, full to the brim with joy and vigor. Indeed, the experience he de-scribes is, for him, almost a religious one. To do it justice, he ransacks metaphoric language and crams the poem with concrete imagery.

alliteration, personification, metaphorsynesthesiaalliteration, consonanceparallelism, sound devices, synesthesiapersonificationmetaphorpersonification, synesthesia, alliterationMetaphor, consonance: The sky is compared to a mountain range, but one that normal birds cannot reach.assonance, synesthesiaMetaphor, connotative language, allitera-tion: Space is likened to a hallowed territory, perhaps a church, that ought not be entered lightly.metaphor (See answers to About the Story questions.)

The student will be able to 1. analyze the poem for metaphor and

personification. 2. analyze the poem for synesthesia and

sound devices, including assonance, con-sonance, onomatopoeia, and alliteration.

3. explain how the poem’s many literary devices contribute to its overall effect.

4. evaluate the poem’s conclusion from a biblical worldview.

Objectives

• Elements of Literature, 2nd edition

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Secondary literature presents numerous opportunities for interdisciplinary studies.

Literature and HistoryEvery work of literature has deep roots in the time period of its author. A discussion of a text would be incomplete without first covering the history surrounding that text.

Literature and ArtMany famous works of art are based on literature. “Evaluating Art” sections give students an opportunity to see art in context of the text that inspires it.

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More than any other Church action in the Middle Ages, the Crusades have captured

people’s imaginations for centuries. A series of expeditions to the Holy Land from 1095 to 1291, their purpose was initially twofold: to recapture Christendom’s sacred sites and pilgrimage routes from Muslim Turk incursions and to defend Christian Europe from the same. Later Crusades expanded the war theater to other groups considered heretical as well.

Though the realities of these conflicts were often brutal and un-Christian, the Crusades and Crusaders took on mythic proportions in Europe. Crusader adven-tures reinforced feudal warrior culture and created fodder for the literature of chivalry. Furthermore, they reopened Europe to trade from the Mediterranean and beyond. Crusaders brought back new trade items (e.g., spices, silks, weap-ons, porcelain) and new knowledge from abroad (e.g., Islamic and Greco-Roman scholarship from philosophy to medical knowledge). The latter would lead to the new ideas and scholarship of the Renaissance.

New Ideas and Universities At the same time, new learning and ideas were changing how people viewed the world. Crusaders brought back Islamic learning in medicine, mathematics, and classical studies, adding new dimensions to European knowledge. New Classi-cal Greek writings (or better translations of them) also emerged from the conflict; humanist became a term for scholars who studied these new texts on the humani-ties (subjects dealing with the human experience and culture). Their ideas paved the way for the Renaissance.

The advent of this new learning changed education. Founded in Anglo-Saxon times, cathedral and monas-tic schools at first offered the most advanced medieval education, preparing clergymen and government work-ers (e.g., scribes, bureaucrats, and diplomats). However, the rise of universities with an improved curriculum loosened the Church’s hold on intellectual life. Grow-ing from self-organized groups of scholar-teachers and their students, universities were recognized by royal charter or license. In medieval England, the result was

two major institutions of British life—the University of Oxford and Cambridge University.Art and Architecture The medieval era produced a great deal of art mostly centered on theological or courtly subjects. Illuminated manuscripts; carvings in stone, ivory, and precious metals and gems; complex tapestries and needlework; and fine jewelry all typi-fied the era. But the most visible art form resided at the community’s center: the church. Communities took decades, sometimes centuries, to build magnificent cathedrals designed to point an illiterate population to God. These were littered with artwork depicting saints and Bible characters. Even the basic architecture had meaning: for example, floor plans usually formed a cross. Originating in twelfth-century France, the school of Gothic architecture designed churches whose tall and airy structures lifted viewers’ attention to God. Beautiful examples of English Gothic cathedrals exist at Salisbury, Canterbury, and York, among other places.

THE CRUSADES

9INTRODUCTION

VISUAL ANALYSIS Examine Émile Signol’s Taking of Jerusalem by the Crusaders, 15th July 1099 (1847) below. Do you think it reflects Crusaders realistically? What tone toward the Crusades does the artist seem to express?

• British Literature, 3rd edition

Interdisciplinary Study

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MODERN AMERICAN POETRY

1575 1600 1625 1650 1675 1700

1630–1651—Of Plymouth Plantationc. 1635– c. 1678—Mary Rowlandson

c. 1400–1600—Forming of the Iroquois Confederacy

1607—Settlement of Jamestown

1565—Founding of St. Augustine as a Spanish fort

1611—Publication of King James Version of the Bible

1620—Founding of Plymouth

1630—Establishment of Massachusetts Bay Colony

1636—Founding of Harvard College

1642–1646—English Civil War

1649–1660—Puritan Commonwealth

1660—Restoration of Stuart line

1662—Enactment of Halfway Covenant

1580–1631—John Smith

1608—A True Relation

1624—A General History

1590–1657—William Bradford

1682—A Narrative of the Captivity. . .

chapter

Precolonial–1820—Early American Literature

1 REALISTS AND NATURALISTS

18501825 1875 1900 1925 1950

1885—The Rise of Silas Lapham 1905—“Editha”

1889—Oklahoma land rush 1896—In His Steps (Sheldon) 1896–99—Klondike gold rush

1898—Spanish-American War

1901–9—Theodore Roosevelt’s presidency

1903—Airplane flight at Kitty Hawk

1835–1910—Mark Twain

1885—The Adventures of Huckleberry Finn

1837–1920—William Dean Howells

1843–1916—Henry James

chapter

81873 –79—The Long Depression

1876—Battle of the Little Big Horn

1877—The American 1871–1900—Stephen Crane

1895—The Red Badge of Courage

1876–1916—Jack London

1903—The Call of the Wild1901—”The Law of Life”

1865–1914—American Realism and Naturalism

1897—“The Open Boat”

• American Literature, 3rd edition

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The MaterialsBelow are the standard secondary literature materials provided for each grade (7–12). For a comprehensive list of all grades, contact your Precept sales representatives at 800.511.2771, or visit bjupress.com today.

A

B

C

B

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A. Student EditionEach student edition includes colorful photos and illustrations, grade-appropriate selections, and questions that promote deep comprehen-sion, technical analysis, and critical evaluation. Students will improve their close reading skills through technical analysis and fortify their faith through critical evaluation from a biblical worldview. Selections are drawn from various genres and time periods and represent varying styles, themes, and cultures.

B. Teacher EditionThe teacher edition contains a lesson plan overview to help with lesson planning and full-color, reduced student pages for ease of reference. Each lesson plan includes lesson objectives, numerous teaching strategies, answers to discussion questions, and ideas for enrichment activities.

C. Assessments and Assessments KeyAssessments and assessment keys are available for separate purchase. They include chapter tests, midterms, and final exams.

u See page 14 for technology solutions.

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TeacherToolsOnline.comTeacher Tools Online is the premier resource for teachers using BJU Press materials. It encourages teachers in their efforts to expand their lessons and enhances their teaching strategies for greater depth. Teacher Tools Online provides teacher resources at the touch of a button, freeing up valuable time for teachers.

Teachers will find educational articles, editable lesson plan overviews, PowerPoint® presentations, and much more in the Teacher Tools Online database!

Teacher ResourcesTeacher Tools Online has been rebooted to make it easier, faster, and more efficient. The user-oriented design features include• Free and paid resources in one place• User-friendly design and search to make it

easy to find what you need• Favorites lists to help you organize• Access to all subjects—each paid teacher sub-

scription includes access to all free and paid resources

Teacher Tools Online is your one-stop shop for your favorite teacher resources.

Technology Solutions

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PowerPoint® PresentationsA database containing over 8,000 editable PowerPoint presentations that correlate with BJU Press textbooks

Video ClipsOver 4,000 video clips including video field trips, animations, and many other videos designed to engage students

eTextbooksTeacher Tools Online includes ten-year access to the same VitalSource eTextbooks used by students. Teachers will be able to digitally collaborate with students through built-in sharing features. Teacher editions are also available in PDF format.

Teacher Tools Online ResourcesSchools pay a one-time subscription fee for each teacher. Each paid teacher subscription includes access to content for every subject.

ArtworkTeachers can create a captivating learning environment by using any of the 28,000 pieces of original art, charts, graphs, maps, and more.

ExamView Assessment Suite, a premier as-sessment tool, offers material from over 11,000 textbooks from more than 65 top educational publishers. It serves as the foundation for creat-ing, administering, and managing assessments.

eTextbooks for Students Stay on the leading edge of technology with BJU Press eTextbooks! Using eTextbooks means lighter loads for students and improved accessibility for students who use laptops or tablets.BJU Press eTextbooks are offered through the VitalSource® Bookshelf®, the preferred and most used eTextbook platform in higher education today.

• Simple process • Anywhere, anytime access • Study features • Note-sharing • Page fidelity

TeacherToolsOnline.com

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To order an exam kit, call your Precept sales representative at 800.511.2771.To learn more about BJU Press secondary literature, visit bjupress.com/scope/literature.

V-2, 2018