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State Standard

Letter to the Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Letter to the Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

American Literature and Composition GPS/Lesson Correlation Chart . . . . 9

Pretest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 1 . Reading .and .Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 .

Lesson .1 . . Prefixes, Suffixes, and Roots . . . . . . . . . . . . . . . . 50 . ALRL5.a–b

Alger, .Bound to Rise .(excerpt) .

Sinclair, .The Jungle .(excerpt) .

Lesson .2 . . Plots, Characters, and Conflicts . . . . . . . . . . . . 54 . ALRL1.F.a

Anderson, .Winesburg, Ohio .(excerpt)

Wharton, .The Age of Innocence .(excerpt)

Lesson .3 . . Setting, Mood, and Imagery . . . . . . . . . . . . . . . . . 58 . . ALRL1.F.b, ALRL1.F.d

Cooper, .The Last of the Mohicans .(excerpt)

Cather, .O Pioneers! (excerpt)

Lesson .4 . Theme and Main Idea . . . . . . . . . . . . . . . . . . . . . 62 . ALRL1.F.c, ALRL1.N.a,

ALRL2.a–d, ALRL4.c

Alger, .Brave and Bold (excerpt)

Twain, .The Adventures of Huckleberry Finn

Lesson .5 . Elements of Literature . . . . . . . . . . . . . . . . . . . . . 66 . ALRL1.F.a, ALRL1.F.d,

ALRL4.a

Crayon, .The Story of Rip Van Winkle .(excerpt)

Bierce, .“An .Occurrence .at .Owl .Creek .Bridge”

Mid-Chapter EOCT Review A . . . . . . . . . . . . . . . . . . . . . . . 70 .Harte, .The Luck of the Roaring Camp .(excerpt)

Lesson .6 . Characteristics of Nonfiction . . . . . . . . . . . . . . . 72 . ALRL1.N.a–c

Lowell, .“Democracy” .(excerpt)

Adams, .The Education of Henry Adams .(excerpt)

Lesson .7 . Language in Nonfiction . . . . . . . . . . . . . . . . . . . . 76 . . ALRL1.N.c, ALRL4.a,

ALRL5.a, W2.E.k

Anthony, .Speech .(excerpt)

Whitman, .Prose .Works: .I . .Specimen Days .(excerpt)

Table of Contents

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Lesson .8 . Resource and Reference Materials . . . . . . . . . . 80 . ALRL5.a–c

Emerson, .“Heroism” .(excerpt) .

Mid-Chapter EOCT Review B . . . . . . . . . . . . . . . . . . . . . . . 84 .

Lincoln, .Douglas, .Political Debates Between Lincoln and Douglas .(excerpt)

Lesson .9 . Poetry Structure . . . . . . . . . . . . . . . . . . . . . . . . . . 86 . . ALRL1.P.a–b

Whitman, .“The .Prairie-Grass .Dividing” .

St . .Vincent .Millay, .“When .the .Year .Grows .Old”

Lesson .10 . History of Poetry In America . . . . . . . . . . . . . . . . 90 . ALRL1.P.c

Bradstreet, .“To .My .Dear .and .Loving .Husband” .

Excerpts .from .Longfellow, .Eliot, .Sandburg, .Wheatley

Lesson .11 . Figurative Language and Theme . . . . . . . . . . . . . 94 . ALRL1.P.a–b

Bryant, .“Thanatopsis” .(excerpt)

Robinson, .“Ballad .of .Dead .Friends”

Lesson .12 . Comedy and Tragedy . . . . . . . . . . . . . . . . . . . . . 98 . ALRL1.D.a

Conrad, .Aylmere .(excerpt)

O’Neill, .Beyond the Horizon .(excerpt)

Lesson .13 . Dramatic Conventions . . . . . . . . . . . . . . . . . . . . 102 . ALRL1.D.c

Moody, .The Great Divide .(excerpt)

Gerstenberg, .The Illuminate in Drama Libre .(excerpt)

Lesson .14 . Character and Theme in a Drama . . . . . . . . . . . 106 . ALRL1.D.b, ALRL1.D.d

Tyler, .The Contrast .(excerpt)

O’Neill, .The Hairy Ape .(excerpt)

Lesson .15 . Literary Periods . . . . . . . . . . . . . . . . . . . . . . . . . 110 . ALRL3.R.a–b, ALRL4.d

Crane, .Maggie: Girl of the Streets .(excerpt) .

Melville, .Moby-Dick; or The Whale .(excerpt)

London .Britannia, .Review .of .Moby Dick

Lesson .16 . History of American Literature . . . . . . . . . . . . . 114 . ALRL1.F.f, ALRL3.C,

ALRL3.A, ALRL4.d

Jay, .The Federalist Papers

Bradford, .Of Plymouth Plantation: A Diary .(excerpt)

“The .Mayflower .Compact” .(excerpt)

Chapter 1 EOCT Review . . . . . . . . . . . . . . . . . . . . . . . . . . 118 .

Kilmer, .“Trees” .

O’Neill, .The First Man .(excerpt) .

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Table of Contents

Chapter 2 . Reading .Across .the .Curriculum . . . . . . . . . . . . . . . . . . . . . . . . 121

Lesson .17 . Context Clues, Reading Across Subject Areas . . . . . . . . . . . . . . . . . . . . 122 . ALRC3.a–c, ALRC4.b–c

Emerson, .Essays and English Traits .(excerpt)

“The .Mecklenburg .Declaration .of .Independence” . .(excerpt)

Lesson .18 . Compare Media . . . . . . . . . . . . . . . . . . . . . . . . . 126 . LSV2.R.a, ALR1.N.b

Lesson .19 . Effectiveness of Presentation . . . . . . . . . . . . . . 130 . LSV2.R.b–c

Lesson .20 . Life Experiences . . . . . . . . . . . . . . . . . . . . . . . . 134 . ALRL4.c, LRC4.a

Twain, .“Jim .Smiley .and .His .Jumping .Frog” .(excerpt)

Fitzgerald, .This Side of Paradise .(excerpt)

Chapter 2 EOCT Review . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Chapter 3 . Writing .and .Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Lesson .21 . Text Structure . . . . . . . . . . . . . . . . . . . . . . . . . . 142 . W1.f

Greeley, .Speech .(excerpt)

Lowell, .“On .a .Certain .Condescension . .in .Foreigners” .(excerpt)

Lesson .22 . Expository Paragraphs . . . . . . . . . . . . . . . . . . . 146 . W1.a–b, W1.g W2.E

Macy, .Modern Essays 1921: .“American .Literature” . .(excerpt)

Hawthorne, .“Buds .and .Bird-voices” .(excerpt)

Lesson .23 . Narrative Paragraphs . . . . . . . . . . . . . . . . . . . . 150 . W2.E.a, W2.N

Brown, .“The .Fifty-First .dragon” .(excerpt)

Baum, .Ozma of Oz .(excerpt)

Reed, .Ten Days that Shook the World .(excerpt)

Lesson .24 . Descriptive Paragraphs . . . . . . . . . . . . . . . . . . 154 . W1.d

Grey, .Riders of the Purple Sage .(excerpt)

Alcott, .Little Women .(excerpt)

Lesson .25 . Persuasive Paragraphs . . . . . . . . . . . . . . . . . . . . 158 . W1.c, W1.g, W2. E.a,

W2.P

Grant, .“Reasons .for .Being .a .Republican” .(excerpt)

Schurz, .“A .Plea .for .General .Amnesty” .(excerpt)

Jefferson, .et .al ., .The Declaration of Independence .(excerpt)

Mid-Chapter EOCT Review . . . . . . . . . . . . . . . . . . . . . . . . 162 .

James, .The Portrait of a Lady .(excerpt) .

Brown, .“His .Speech .to .the .Court .at .His .Trial” .(excerpt)


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Lesson .26 . Formal and Informal Language/Audience . . . . 164 . W4.c–d

Lincoln, .Letter .to .Mrs . .Bixby

Roosevelt, .Letter .to .Master .Garfield

Lesson .27 . Organize a Writing Sample . . . . . . . . . . . . . . . 168 . W2.E.b–c, W2.T

The Harvard Classics, .“Introductory .Note: . .Edgar .Allen .Poe” .(excerpt)

Lesson .28 . The Research Process . . . . . . . . . . . . . . . . . . . . 172 . W3.a–b

Lesson .29 . Finding Supporting Evidence . . . . . . . . . . . . . . . 176 . W2.E.d, W3.a–c

Rhodes, .History of the Civil War .(excerpt)

Haskell, .Account of the Battle of Gettysburg .(excerpt)

Lesson .30 . Using Note Cards . . . . . . . . . . . . . . . . . . . . . . . . 180 . W3.d, C2.c

Holmes, .“The Contagiousness of Puerperal Fever” .(excerpt)

Lesson .31 . Documenting Information in a Text . . . . . . . . . 184 . . . . ALRL.4.e, W3.e, W3.f,

C2.a, C2.c–d

Lesson .32 .Passive Voice, Active Voice, and Parallel Structure . . . . . . . . . . . . . . . . . . . . . . . . 188 . W1.d, W2.E.j, C1.c

Stein, .The Good Anna .(excerpt)

Lincoln, .“The .Gettysburg .Address” .(excerpt)

Lincoln, .“The .Second .Inaugural .Address” .(excerpt)


Chapter 4 . Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Lesson .33 . Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 . C1.b, W4.f

Howells, .“I .Talk .of .Dreams” .(excerpt)

Lesson .34 . Capitalization, Spelling, Confusing Words . . . . 200 . C2.b, W4.f

Lesson .35 . Grammar and Usage . . . . . . . . . . . . . . . . . . . . . . 204 . C1.a-c, W4.f


Posttest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

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Getting the Idea

4 Theme and Main Idea

ALRL1.F.c, ALRL1.N.a, ALRL2.a, ALRL2.b, ALRL2. c, ALRL2.d, ALRL4.C

A theme is the central idea of a text. It contains a universal view of life and society that is expressed by the ideas and characters in literature. A story’s plot often advances a conclusion that the author has drawn about the events of life. The reader is meant to understand a truth about life as portrayed by a work of art.

Theme is not a topic or a main idea. In Sister Carrie, Theodore Drieser’s novel about city life in the growing America of the 1880s, the topic is the young woman of the title. Topic refers to the subject matter; it does not advance an idea.

The main idea of this novel is a young woman moving to the city and trying to make her way on her own. Here again, no larger truth is advanced. The main idea is the content of the novel. It tells you what happened.

The theme of Sister Carrie is that young women lose some of their ideals as they struggle to survive in life. This tells the reader something about life, and Dreiser chose this theme to comment on our young country. Like Sister Carrie, Americans have changed as their cities have grown, and they have compromised the ideals once found in the simple life of the farm.

There can also be more than one theme in a piece of literature. You can take many possible observations from good art and compare these to your own life and ideas.

Common Literary Themes in American Literature

• American Individualism: Many men and women who came to America were seeking a new life. Individual achievement and ambition helped them survive.

• The American Dream: Again, the chance for the good life has motivated the hard work, perseverance, and determination of each generation.

• Cultural Diversity: Many different cultures have come to America and mixed with both success and failure. This blending of various peoples has provided a diversity of ideas and practices and allowed different groups to succeed.

• Tolerance: Unlike older European and Asian societies, where class restrictions and religion did not allow dissent and variety, American society has embraced diversity. Freedom of religion and individual rights are cornerstones of the American outlook on the world.

Authors also use particular styles, language, and genres to help them get their themes across. Mark Twain uses the boy, Huckleberry Finn, to speak universal truths in the way an adult character never could.

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Coached Example

DIRECTIONSRead this selection from Brave and Bold, by Horatio Alger, and answer the questions that follow.

“Gentlemen,” said the lawyer, “I am about to read the last will and testament of our neighbor, Paul Nichols, recently deceased.”

“Having no near relatives, . . . I leave all of which I may die possessed, whether in land or money, to my brave young friend, Robert Rushton, who courageously defended me from my said nephew, at his own bodily risk, and I hope he may live long to enjoy the property I bequeath him.”

No one was more surprised than Robert at the unexpected inheritance. He could hardly realize that he was now possessed of a considerable property in his own right. It may be said here that, including the value of the farm, and the gold concealed, his inheritance amounted to quite ten thousand dollars.

“It is a good thing to have a rich son,” said Captain Rushton, humorously. “Robert, I hope you won’t look down upon me on account of my comparative poverty.”

“Father,” said Robert, “I wish you would take this money—I don’t want it.”

1. What is the main idea of this selection?

A. A lawyer was giving away money to a nephew of someone who died.

B. A rich person received a reward for writing a last will and testament.

C. A young man received a surprise inheritance for his courage.

D. A young man named Robert Rushton gave away ten thousand dollars.

HINT Read the passage carefully to see what events take place.

2. What major theme of American literature does this selection suggest?

A. Tolerance

B. Individualism

C. American Dream

D. Cultural Diversity

HINT Consider what the actions of the lawyer and the will did for Robert Rushton.

Thinking It Through


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Coached Reading

Lesson Practice

Huck represents the average American who cannot turn in someone who he knows will be punished, even if it is what he is supposed to do.

DIRECTIONSRead the selection below and answer the questions that follow. Huckleberry Finn and a runaway slave, Jim, are drifting down the Mississippi River towards Cairo, Illinois.

Mark Twain

from The Adventures of Huckleberry Finn

We went drifting down into a big bend, and . . . talked about Cairo, and wondered whether we would know it when we got to it. I said likely we wouldn’t, but Jim said he’d be mighty sure to see it, because he’d be a free man the minute he seen it, but if he missed it he’d be in a slave country again and no more show for freedom. . . . Jim said it made him all over trembly and feverish to be so close to freedom. Well, I can tell you it made me all over trembly and feverish, too, to hear him, because I begun to get it through my head that he WAS most free—and who was to blame for it? Why, ME.

. . . Jim sings out: “We’s safe, Huck, we’s safe! Jump up and crack yo’ heels! Dat’s de good ole Cairo at las’, I jis knows it!”

I says: “I’ll take the canoe and go and see, Jim. It mightn’t be, you know.”

“. . .Pooty soon I’ll be a-shout’n’ for joy, en I’ll say, it’s all on accounts o’ Huck; I’s a free man, en I couldn’t ever ben free ef it hadn’ ben for Huck; Huck done it.”

I was paddling off, all in a sweat to tell on him; but when he says this, it seemed to kind of take the tuck all out of me. . . . Right then along comes a skiff with two men in it with guns, and they stopped and I stopped. One of them says: “What’s that yonder?”

“A piece of a raft,” I says.“Do you belong on it?”“Yes, sir.”“Any men on it?”“Only one, sir.”“Well, there’s five [slaves] run off to-night up yonder, above the head

of the bend. Is your man white or black?”I didn’t answer up prompt. I tried to, but the words wouldn’t come.

I tried for a second or two to brace up and out with it, but I warn’t man enough—hadn’t the spunk of a rabbit. I see I was weakening; so I just give up trying, and up and says: “He’s white.”

Jim introduces the main theme of this passage in his discussion of freedom.

Huck knows that according to the law, he should turn Jim in because slavery was legal at the time, but his conscience makes him hesitate.


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Independent Practice

1. Which theme from American literature would apply to this selection?

A. Individualism

B. Tolerance

C. American Dream

D. Westward Expansion

2. What does the author MOST likely intend to suggest to the reader through the relationship between Huck Finn and Jim?

A. Young boys should not drift on a raft in the middle of a river.

B. Huck Finn should have obeyed the law and turned in Jim.

C. No man deserves to be a slave, no matter what the law says.

D. Huck Finn should not have hesitated before turning in Jim.

3. What is another possible theme the author intended in this passage from Huckleberry Finn?

A. The men who were hunting down slaves were doing their job.

B. Huck should feel guilty about helping a legal slave escape.

C. Both Huck and Jim enjoyed their freedom on the river.

D. There is a basic sense of decency in sensitive people.

4. What element of the author’s style helps to express his theme effectively?

A. He spells the colloquial language his characters use as it sounds.

B. He uses humor and a child’s thinking to comment on society.

C. He sets the scene on a river to show how life moves along slowly.

D. He creates unreal characters to mock how society affects them.

5. What is the main idea of this passage?

A. Huck protects a runaway slave from capture.

B. A boy is floating down the river on a raft.

C. Jim is searching for Cairo, Illinois, where he’ll be free.

D. Two men stop Huck Finn’s raft near Cairo.

6. How does the theme of this selection differ from its topic?

A. Its topic is a slave and a boy, and its theme is running away.

B. Its topic is escape, while its theme is that all men should be free.

C. Its topic is rafting, while its theme is that the river provides freedom.

D. Its topic is why Jim should be free, and its theme is liberty.

DIRECTIONSAnswer the questions below.

Lesson 4: Theme and Main Idea


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