Schuyler 1 Mandy Schuyler For Drs McGurk/Reed– Senior English Project – 400-01 January 27th 2006 MAKING THE CONNECTION: ENHANCING ENGLISH EDUCATION THROUGH INTERESTING INQUIRY, REAL WORLD RELEVANCE AND SELF SUFFICIENCY TABLE OF CONTENTS 1. Introduction – The Consequences of Connection ..................................................................................... 2 SECTION I – IMPACTFUL INSTRUCTION ................................................................................................. 5 2. Signs of Success ............................................................................................................................................. 5 3. Intriguing Inquiry ........................................................................................................................................... 6 4. Meaningful Material ..................................................................................................................................... 13 SECTION II METACOGNITIVE METHODS .............................................................................................. 17 5. Learning About Learning ............................................................................................................................. 17 6. Rich Reflection .............................................................................................................................................. 24 7. Apprehending Assessment .......................................................................................................................... 25 7. Critical Cognition and Discerning Discourse ........................................................................................... 30 9. Decisions, Decisions – Conferring Choice ................................................................................................ 33 SECTION III – CORRESPONDING CURRICULUM ................................................................................... 37 10. 11. 12th Grade – Reading, Writing and Macbeth by William Shakespeare ....................................... 37 11th Grade – Reading, Writing and The Adventures of Huckleberry Finn by Mark Twain – SECTION IV – LIVELY LESSONS................................................................................................................. 40 12. 12th Grade Lesson Sequence ................................................................................................................. 40 Schuyler 2 MAKING THE CONNECTION: ENHANCING ENGLISH EDUCATION THROUGH INTERESTING INQUIRY, REAL WORLD RELEVANCE AND SELF SUFFICIENCY "It may be that you are not yourself luminous, but you are a conductor of light. Some people without possessing genius have a remarkable power of stimulating it." 1. Introduction – The Consequences of Connection Sir Arthur Conan Doyle wrote The Hound of the Baskervilles in 1901, before anyone could have imagined the contemporary brain mapping and psychological discoveries which have revealed so much of relevance for education and other fields. Yet Sherlock Holmes’ remark to Watson on his analysis of the walking stick of a country doctor nevertheless captures beautifully the role of a successful modern teacher: ‘conductor of light’ in the sense both of the medium by which it is carried and of the person who is orchestrating the process and method by which it is brought to life. In his remarkable 1998 book Awakening Genius in the Classroom, Tom Arnold tells us: Every student is a genius. I do not mean this in the psychometric sense of the word. . . . .For the meaning of genius used here, I have gone back to the origins of the word itself. . . . the word genius derives from Greek and Latin words meaning “to beget,” “to be born,” or “to come into being” (it is closely related to the word genesis). It is also linked to the word genial, which means, among other things, “festive,” “conducive to growth,” “enlivening,” and “jovial.” . . . . From the standpoint of education, genius means essentially “giving birth to the joy in learning.” . . . . this is the central task of all educators. It is the genius of the student that is the driving force behind all learning (Arnold 4). Schuyler 3 Clearly, successful education is totally dependent on motivation. What the student doesn’t learn, we haven’t taught; what the student doesn’t want to hear will never be absorbed into his or her long term memory as skill, knowledge or an enhanced ability to learn. In the spirit of Tom Arnold, then, this study will examine secondary English education through the lens of student relevance and interest – what is meaningful in the lives of many high school students - with a particular focus on 11th and 12th grades. It will explore ways of using this meaning to engage them in an enthusiastic, curious and committed study of reading, writing and literary texts of all kinds, which has the potential not only to assist them in passing the requisite testing hurdles, but also to lay the foundations for a lifetime of articulate inquiry, communication, and artistic appreciation. It will create a sample curriculum and lesson plans showing the practical application of these premises in a regular secondary classroom environment to demonstrate their feasibility, using a variety of methods, texts and materials. My own observations of a range of high school classrooms around the Erie, PA region, as well as research by highly qualified English education experts, indicate that most high school students have no idea why they study English, nor do they see it as useful or relevant to their lives. This results in a “prisoner” mentality for many teenagers in the English classroom, where they sit and wait to be taught at, because they have no choice but to be there, and it makes the need to get them through high school graduation or college entry testing requirements a daunting task for educators. Recent studies by Jeff Wilhelm, Richard Stiggins and Alan Sitomer have shown that bridging into the world and personal interests of these young people with inquiry and student choice, while giving them the tools to understand the process and standards of their own learning (metacognition and self assessment), can produce startlingly positive results in literacy and the understanding of texts. This holds true both from a test result and from a student engagement Schuyler 4 perspective. George Hillocks has long held similar views of engagement and gateways into an emotional connection with the topic in writing assignments. I passionately believe in the need to reach kids where they live mentally and culturally, and I want to use this opportunity to parlay my thinking on how to do this effectively into practical classroom techniques and activities using research and reflection on creative approaches. Such an undertaking should equip me with the tools to hit the ground running as I seek and hopefully find employment in the fall of 2007. It will offer a vehicle by which to share my philosophy and approach with prospective employers in a concrete manner, which has the virtues of eliminating misunderstandings, helping to ensure compatibility in the intense and challenging sphere of public secondary education, and comprising a very tangible sampler of my skills and knowledge. In order to realize these advantages, we will show that the success of high school literacy and English language arts instruction in terms of student engagement and capability can be greatly enhanced by lessons containing inquiry and materials/ topics of emotional interest and logical relevance to students, by teaching them metacognitive skills including process, self-knowledge, selfassessment, critical thinking and study strategies, and by providing opportunities for self-control and choice. Schuyler 5 SECTION I – IMPACTFUL INSTRUCTION 2. Signs of Success First of all, how do we define the success of high school literacy and English language arts instruction in terms of student engagement and capability; how will we know when we see it, and more importantly how will students who experience it be able to perform and feel? The first dimension of this, especially in light of its power to control and even close schools, has to be that of the Pennsylvania State Department of Education (PDE). In the 2006 national Editorial Projects in Education (EPE) Survey published by Education Week, the State scored its highest marks in the area of standards setting, for clarity and comprehensiveness. These state standards for literacy and language arts are attached in full as Appendix A of this paper. In English literacy they can be summarized as the capability to locate, fluently read, comprehend, analyze, and use the content, ideas and arguments, structure and vocabulary of a variety of textual materials in understanding, speaking, listening, writing and thinking. In language arts they can be summarized as the capability to recognize, understand, and use the style, tone and methods of traditional and contemporary techniques and technologies for the appreciation, criticism and production of works of language art. These formal and governmental standards can and will serve as an adequate criterion for the success of instruction in terms of student capability to use and understand language and literature including the potential to succeed in mandatory standardized tests, and they will help guide the creation of curriculum and lesson plans. For the area of engagement, and its connotation of lifelong learning, curiosity and enjoyment of these skills and this knowledge, however, we might do well to seek more human and profound objectives. Perhaps as teachers, the best thing we can do for our students as people is to help them love to learn, operate effectively in today’s world of continual change and teamwork, and think critically and objectively for themselves. A key goal is to instill in Schuyler 6 our students a healthy curiosity to explore the literary and linguistic landscape, and a confidence and enjoyment in formulating, exploring and expressing ideas through language with its powerful tools of rhetoric which can serve them for a lifetime. The evidence for the development of this curiosity and desire to explore, as well as for affective and persuasive abilities will come through formative assessments: do these students read (anything) independently and with pleasure? Do they think about the meaning of current events, movies and other phenomena of the culture, and bring those thoughts to classroom and social discussions? Can they write a persuasive paper, letter or article? Can they present well in a way that conveys ideas clearly and compellingly to the classroom community? In short do they enjoy and willingly practice the skills they have acquired? Some ideas on self- and formative- assessment will be included in the assessment section of this paper and in each of the lesson plans in Section II. 3. Intriguing Inquiry In terms of the process needed to achieve these goals, let us begin logically with the foundation process for all learning – inquiry. How should we define this? The Exploratorium Institute for Learning’s website, a spin-off from the eponymous San Francisco science museum, tells us that “"Inquiry is an approach to learning that involves a process of exploring the . . . . world, that leads to asking questions and making discoveries in the search for new understandings" (Cruger). From infancy, we explore the world, at first with our eyes and mouth, then with hands and feet. Before long we begin consciously to explore it with that greatest instrument of information acquisition, the human brain. People are naturally curious, and acquiring interesting knowledge is a source of pleasure for all normal human beings. To be ongoing and pleasurable, however, the acquisition has to be perceived as useful, relevant, and self-motivated. Albert Einstein, in his remarkable 1954 essay collection Ideas and Opinions, described his own experience of absorbing Schuyler 7 information about a scientific theory, and explained why the particular method used to present it via inquiry and then argument was so effective in this way: I asked myself what it was that had so fascinated me. The answer is simple. The results were not presented as ready-made, but scientific curiosity was first aroused by presenting contrasting possibilities . . . . Only then the attempt was made to clarify the issue by thorough argument. The intellectual honesty of the author makes us share the inner struggle in his mind. It is this which is the mark of the born teacher. Knowledge exists in two forms - lifeless, stored in books, and alive, in the consciousness of men. The second form of existence is after all the essential one; the first, indispensable as it may be, occupies only an inferior position. (Einstein) More recently, Jeff Wilhelm, an associate professor of English at Boise State University specializing in team teaching, co-constructing inquiry-driven curricula with students, and pursuing teacher research, all at the secondary level, has done research which sheds considerable light on the nature and impact of inquiry driven learning. In his 2006 book Going with the Flow, coauthored with Michael Smith, he tells us: Inquiry makes English about something, and in so doing it transforms the skills and strategies and terms we teach into important tools for understanding a big idea or expressing new knowledge and personal insights about that important issue. Making what we teach matter through inquiry addresses the [students’] desire for a focus on the immediate experience. Making it matter means making what we do compelling in the here and now instead of casting it merely as preparation for the future. (Wilhelm 56) Schuyler 8 The three conditions for real interest and ‘flow learning” are described by Wilhelm as 1. Making your teaching matter through inquiry, problem orientation, and essential questions. Asking a ‘big’ or guiding question that matters and to which the teacher doesn’t have a canned and obvious answer. This provides a clear purpose and goals of learning with immediate feedback. 2. Giving students a real challenge with implications for the real world, not just school theory, that requires an appropriate level of skill and assistance to meet it. 3. Frontloading the material – sequencing into, through and beyond it from topical research to practical inquiry so you can assist kids through their zone of proximal development and give them a sense of control and competence Wilhelm found that framing a course of study around a meaningful question has students stake their own position, and levels the playing field with a teacher who has been studying their subject for 20 years. Instead of playing “guess what the teacher already knows” (Wilhelm 59), the students do honest investigation, with materials, ideas and activities they suggest as well as those provided by the teacher, to open up a subject to which we don’t necessarily have answers. Wilhelm uses the anecdote of a prizewinning molecular biologist: [T]he famed Harvard biologist and Pulitzer Prize winner E. O. Wilson [chided] teachers for our current practices of delivering information to students: “Most people teach biology by starting with the molecule!” he exclaimed. “This is exactly the wrong way to go. No one cares about the molecule. I don’t care about the molecule. Unless I have a reason to care—that is, a problem that I am working on that requires understanding molecules to address.” Schuyler 9 Wilson went on to say that biology, like all disciplines, is organized around questions: Why do organisms die? Is sex necessary (biologically speaking)? How are humans like bacteria? What are the effects of genetically altering an organism? What are the effects of changing the environment in some way? Wilson emphasized that students need to have a sense of these foundational questions that biology (or literature, or algebra, or any other subject) was designed to address. (Wilhelm 57) This approach gives students exciting and genuine investigation to do, not to mention the riveting effect of exploring “Is sex necessary” on a classroom full of 10th or 11th graders! And the best part is, they can’t understand the question, let alone answer it, scientifically speaking, without a basic grasp of molecular biology – so now they have a reason to learn. In developing inquiry questions for approaches and lessons Wilhelm suggests three techniques: reframing a required text or topic with questions eliciting core human issues, problems and questions, reframing a standard to make it meaningful to students as a valuable life skill or looking around the community for environmental concerns in the students’ immediate lives that can be linked to textual inquiry (Wilhelm 63-64). In the English classroom envisioned in this study, inquiry will be used to drive both literary exploration/appreciation, and research. Written projects will showcase student findings on the road to the development of their own responses to questions like “Why do people turn to the dark side?” in relation to the study of Macbeth, as one example. Students will make their own determination of the range of reasons, and find examples of those who have gone wrong in the interests of such impulses as fear, greed, sensual pleasure, fame and power. Then they will map the kinds of processes and environments which facilitate yielding to these impulses, and to what Schuyler 10 extent the outcome matches expectations or leads to disaster. And finally they will compare their own examples with the impulse, process and circumstances surrounding Macbeth’s surrender to the desire to be king and his subsequent downfall. Wilhelm’s second tenet – that students need a real life challenge which has the potential for an impact outside the classroom – in the community or the students’ own lives - is also echoed by Eric Jensen in his seminal 1998 article Teaching with the Brain in Mind . Jensen’s findings aligned with those of William Greenough, and showed that challenge and feedback are the two things most critical to brain enrichment – and hence motivational learning: “The critical ingredients . . . .to enrich the learner's brain are that first the learning is challenging, with new information or experiences. . . . Second, there must be some way to learn from the experience through interactive feedback” (Jensen 5). The way Wilhelm achieved this in his monitored and reflective practice was by following the students’ inquiry with a real life project of their choice, which would put their findings to use in a practical way: Jeff told his students that they would not only be inquiring into “Who will survive?” through shared readings and activities (what we might call a project of topical inquiry), but that at the end of the unit small groups would choose a subtopic of survival they had encountered and research it more thoroughly to create a proposal, a social action project, or new data for the conversation about survival. In other words, the students would be asked to do independent critical inquiry, to use the concepts and procedures they would be learning to do something new. The effect was absolutely energizing. (Wilhelm 60) For his experiments with the concept of frontloading and sequencing the materials, Wilhelm used the work of Grant Wiggins and Jay McTighe from their 1998 book Understanding by Design, a Schuyler 11 text he calls “a classic exploration of how inquiry and design environments can promote deep understanding” (Wilhelm 67). Creating what he calls “Backwards Planning Questions” from Wiggins and McTighe’s six “facets of understanding”(Wiggins 44-62), which Wilhelm used as curriculum standards, he worked backwards from these standards into materials, questions and explorations which could help students realize the learning processes and information acquisition needed to address their inquiry. He then sequenced them into the inquiry process in a fashion which allowed students to gain the needed experiences in a good manner in order to grow in their zone of proximal development (Wilhelm 66-72). In this way inquiry-centered learning changed Wilhelm’s teaching and the results of his students greatly for the better. Before introducing meaningful inquiry, Wilhelm had what he felt was a mediocre offering: . . he still felt that something was lacking. He felt like he was just teaching the text, or the shallow what of the curriculum. After the unit, when he asked students to write about what they had learned of importance, they summarized the plot, a few facts about Canada, and at best, an insight or two about relationships. In short, Jeff wasn’t very pleased. (Wilhelm 58) But after Wilhelm’s research and the introduction of both meaningful inquiry and student-selected real life projects, the whole picture changed for the better. As we are told in the book: The resulting projects were beyond anything Jeff had hoped for. . . . [They] demonstrated student understanding of conditions and capacities that lead to survival or threaten it. They also demonstrated that the students could ask Schuyler 12 questions, interpret connections among the things they had learned, and represent what they had learned to others. (Wilhelm 66) In the English classroom planned as a result of this study, students will be offered the opportunity of doing real life projects such as researching local newspaper archives to determine the impulses behind local crime and its outcome and recommending social or educational changes which might reduce the likelihood of its recurrence, or work with a school administrator responsible for discipline to investigate school-based misdeed, their causes and outcomes and making suggestions for reducing instances of this kind of misdeed in future. As a final note on inquiry, it is worth mentioning that both Wilhelm and Smith as well as Wiggins and McTighe are acutely aware of the intense concern of some teachers with ‘coverage.’ As Wilhelm tells us in discussing their findings Wiggins and McTighe (1998) argue that the “coverer” acts under the illusion that textbook and test-driven instruction encourages retention and understanding. This untested belief flies in the face of existing research . . [which] revealed that . . . . Inquiry leads to more retention, real learning, application, and higher test scores. . [and] . . even brief inquiry treatments motivated students, raised achievement, and led to higher test scores. More important, the “coverage” viewpoint works against what cognitive science tells us about why and how people learn—to answer questions, solve problems, and do work by accruing schematic knowledge and procedural skills over time through performing actual tasks in real situations. (Wilhelm 76) And so the best way to raise achievement is on the path of true understanding, not coverage. Schuyler 13 4. Meaningful Material Now that a review of recent research has shown us the value of an inquiry-based approach to instruction, and given us some methods and approaches to the formation of inquiry questions, how can we ensure that the topics will seem relevant to 11th and 12th graders? Topics of emotional interest and logical relevance to teens will come partly from cultural trends – in music, the media, fashion and so forth – and partly from areas of human interest arising from the concerns of people in their stage of lifespan development. Cultural trends will most likely need to be researched by the individual teacher in the individual classroom, as they change fairly quickly, and tend to vary from region to region in the country. Having a 15 year old daughter of my own and doing volunteer and substitute work in local secondary classrooms in the general vicinity of Erie PA has allowed me to identify that some rap, hip-hop and pop songs by artists such as Eminem, Avril Lavigne and others are currently quite well liked. In addition, Manga and similar anime characters on avatar-based websites such as Gaia < http://www.gaiaonline.com/>, instant messaging, and writing online fan fiction are all currently prevalent leisure occupations for this age group, which likes anime TV shows, science fiction, video games with a fantasy orientation and current movies as well, so these will appear in the lesson plans and curricula as intertextual ‘bridges’ for this paper, but constant monitoring of student interests will be needed. Even this transient group of ideas is somewhat more focused on female than male students; the latter have a higher interest in war style video games and football/sports stars. In the classroom which will use these ideas modern popular movies such as Stars Wars and Gargoyles will be used as intertextual bridges to Shakespearian plays such as Macbeth, to shed light on the processes of temptation and surrender to the dark side, and the concept of destiny. Schuyler 14 Areas relevant to the lifespan development of 11th and 12th graders will include an idealistic focus on the world and the future, including their own potential careers and skills, and pursuit of identity and independence. They care about relationships with parents and family, relationships with their peers, especially their friends, their ability to get to collage and/or find a job, and perhaps most of all their seeking and finding of a personal identity (paraphrased from Santrock of (404-418). A mind map of these interests, which clearly vary by individual, but have major themes in common, has been reviewed for validity by several current 10th graders, and looks like this: Including engaging topics of personal interest in instructional materials and projects can make a substantial difference in the connection students have to lessons and courses. This is especially true of at risk and disadvantaged students, who tend to have fewer opportunities to make interesting connections on account of relatively less resources for learning and entertainment at home, and less contact and communication with parents and caregivers. Recent research has provided insight on the beneficial effect of including subjects of high interest to teen students as Schuyler 15 a bridge for intertextual comparison with the traditional canon. A recent article in Edutopia Magazine by Eric Hellweg tells the story of an intertextual breakthrough by Alan Sitomer, an English teacher at Lynwood High School, in Lynwood, California. Alan was having trouble with a lesson plan on Dylan Thomas, when he noticed the similarities with Tupac Shakur, a deceased but very popular rapper who wrote about treating others with respect and standing up to aggression. He stayed up half the night and built a bridge from those lyrics to the Thomas poem “Do not Go Gentle into that Good Night.” His class the next day, according to Hellmer, was ‘electric:’ The next day, Sitomer was running a little slow, but his students weren't. The kids made the connection immediately." My class was electric," he says. "The following day, the first thing they wanted was more poetry and hip-hop," says Sitomer, who was recognized with California's State Literacy Teacher of the Year award in 2003 for the remarkable turnaround he stewarded in the inner-city school. (Hellweg) Hellweg goes on to describe a number of educational endeavors which have been enhanced with hip hop, including bands writing songs to teach science, and a whole range of intertextual use in English around the nation. It seems to be working in his view: The music [is seen] as a way for teachers to infuse their students with a desire to learn. "Kids don't connect at school, for a number of reasons," says Feinman. "How can we use culture that speaks to the youth to get them excited to learn? We use hip-hop. It was the magnet.” (Hellweg) Other initiatives have used graphic novels, comic books and anime as a lead-in. They often feature references or episodes with classical references. Penguin books, for example recently published a futuristic version of Macbeth set on a remote planet, but retaining many plot characteristics of the Shakespeare drama. This can offer an interesting set of comparisons and Schuyler 16 differences, and the rather beautiful artwork on the alien world will offer eye candy and a familiar sense of interest to anime and science fiction fans. There is a cartoon series called the Gargoyles published by Disney and directed by Greg Weisman, which features Macbeth as a character voiced by John Rhys Davies, who started life as a very successful classic actor with several Shakespearian roles. It might even be helpful to use the scenario in the latest Star Wars movie “Revenge of the Sith” where Palatine - who emerges as the evil emperor - uses manhood and emotional ‘blackmail’ somewhat analogous to the arguments of Lady Macbeth to pull Anakin over to the dark side and persuade him to multiple murders as a foil for certain speeches in the classical play. The point here is not to provide long lists of examples, but to offer two observations. One: educators and researchers are increasingly recognizing the value of reaching out to teens ‘where they live’ by making reference to or using pop culture materials they might seek out for pleasure or interest on their own. Two: there is an increasingly interesting and available body of such works in popular music, fiction (on and off line), television and other media that can provide a range of such intertextual attractions to engage teens and provide fun works for comparison with the canon, models or ideas for writing practice, essay topics and the like. Given the value of engagement and flow and the many ‘disconnected’ students in English high school classrooms today, appropriate use of such materials could help motivate some students who have been hard to reach, and in this area the educational community can use all the help we can get. Schuyler 17 SECTION II METACOGNITIVE METHODS 5. Learning About Learning Now that we have explored ways to engage our students with riveting enquiry and interesting topics, we need to help them become more independent. If we have been successful so far, they will want to learn, so how can we teach them the techniques which will allow them to continue that learning long after they have moved on to college or a career and family, or to use the old well worn Chinese proverb, teach them to fish so that they may eat every day? There are four core sets of understandings and methods that a superior student and explorer needs, in order to know their own mental landscape, and the best ways to acquire skills and knowledge, to think critically, and to act responsibility on their own initiative. The first of these is a comprehension of the learning process and the student’s own learning style, to help them both reach true understanding and acquire the facts and techniques needed to succeed in an academic setting, especially testing environments. In this area we will be examining some methods to teach and use learning styles laid out by Debbie Silver in her delightful book Drumming to the Beat of a Different Marcher, Sara Smith of the University of Texas in her Scriptorum Online Textbook and Susan Santo of the University of South Dakato in her Learning Styles and Personality. In the area of mnemonics and memory encoding, we will review ideas from a variety of sources. The second set of key understandings is an inner grasp of standards of excellence and some methods of self assessment that can enable them to rate and review their own work, finding flaws and weaknesses and seeking remedies before they emerge as faulty learning or poor grades; on the flip side of this, and even more important, is the pride and joy of seeing and acknowledging the Schuyler 18 success of a job well done. In this area we will be using the thinking of Richard Stiggins in his article Assessment, Student Confidence and School Success as a guideline. Thirdly, we must help our students acquire the ability to think critically, to evaluate the arguments of themselves and others and to enter into independent discourse. They need to be able to read critically, devise their own discussion questions and use them in class discourse in a selfdetermined and evaluative manner. Here we will be reviewing the work, findings and recommendations of Matt Copeland in his exciting book Socratic Circles: Fostering Critical and Creative Thinking in Middle and High School. Finally we will explore the area of the value of empowering students with the experience of self-control and choice, helping them take the initiative in wanting to learn and practicing the student’s craft by teaching them to make the decisions on how, what and when to study. In this area we will be referring to the work of a nationwide collegiate research team whose 2004 findings were published in Educational Psychologist . And so let us turn to the process of learning. Brain based and other learning research over the last few years has shown that we need to take into account individual strengths and weaknesses in the areas of multiple intelligences, (linguistic, logical-mathematical, spatial, bodily-kinesthetic, musical, interpersonal, intrapersonal and naturalist), different modes of perception and encoding (audio, visual, tactile-kinaesthetic) and diverse learning styles (abstract, concrete, sequential, random). As teachers, we need to incorporate these discoveries into our lesson plans, methods and materials, but this is not enough. To truly work ourselves out of a job, leaving behind a capable student who can learn successfully on an independent basis, we need to teach these concepts, as simply and clearly as possible, for the students’ own use. Debbie Silver is “an award winning educator with 30 years experience as a classroom teacher and university professor,” as the back Schuyler 19 cover of Drumming to the Beat of a Different Marcher describes her. She focuses on reaching every kind and class of student in a warm and personal way, and has been featured as a teacher on PBS. Referring to the work of Howard Gardner on multiple intelligences, Silver tells us: “A cornerstone . . . . is the idea that students’ intelligences will be identified . . . and used to maximize their understandings of the world around them. Helping them learn to capitalize on their competencies is a key way of inspiring them to be lifelong learners” Silver 114). Silver goes on to provide templates for an icebreaker activity for a whole class to help each other discover how they are smart, and a personal checklist for each individual student to use to discover their strengths in the eight intelligence areas more deeply for themselves. (Silver 117-20). These concepts will reappear in the lesson plans attached as Appendix C of this paper. With regard to the optimal “input preferences” Sara Smith of the University of Texas Health Sciences Department, in her Scriptorum Online Textbook tells us that there are three major input preferences – though many subcategories: People who have a preference for visual input have a strong aptitude with charts, graphs, hierarchies, films and demonstrations. They easily remember information they see. Those who prefer aural input learn best from discussion and lecture. Having opportunities to talk things through with others is important for their learning process. . . things that can be mentally "heard" later, enable them to recall information. Kinesthetic learners relate best to information with which they can interact. . . .. They will remember things more easily if they can be active while learning, . . . putting together a model, or moving items into a pattern. (Smith) There are many products available to assist students in discovering their optimal input mechanism. Schuyler 20 For example there is a quick and immediate inventory available online for free at www.howtolearn.com, and a very powerful paper and stickers method is offered inexpensively by Performance Learning Systems. Teachers will need to work with the school recommended provider or devise their own questionnaire, but helping students understand their preferences for absorbing information is an important step to their learning proficiency and independence. A very simple, quick and dirty test is offered by Eric Jensen in Brain Based Learning: A fire breaks out in your home. Your immediate reaction will be one of the following: 1) visual – you quickly size up the situation, looking for exits, others in need etc; 2) auditory – you start yelling “Fire” or giving directions; or 3) kinesthetic – you start running for the exits or grabbing others who need help. While you may eventually respond in all these ways, one will tend to be an instinctual first reaction. This would be your dominant or dependent input preference. (Jensen 145-46) In addition to self knowledge of their strengths and preferences, for optimal learning students also need to acquire study skills, including mnemonics and memory strategies, note taking and review skills, with a particular emphasis on the value of repetition in both understanding and memory, and a basic understanding of the processes of encoding and flow. In this way, those who are interested in becoming superior students will have a good toolkit with which they can hone their capabilities. Firstly, we must help students understand the processes of memory. Rita Carter in her fascinating science- journalism overview Mapping the Mind, explains the processes of forming long term memories, and explains that things destined for long term retention will be replayed by the hippocampus until they are firmly etched into the cortex (Carter 161-66). A very simplified overview of the processes of encoding, storage and retrieval will suffice for high school students, Schuyler 21 together with an explanation of things like primacy and recency, chunking study time and using breaks every 20-50 minutes and review to enhance retrieval. There is a highly readable one on the Intelegen website which give a simplified overview of the natural rhythms of memory and explains the value of review like this: How do you recall . . . . information after you have learned it? . . .It does require effort. Imagine that you went to a class, listened to the teacher, took your notes and at the end of the lesson threw your notebook into your bag. How much information do you think you would remember about what you had learned by the end of the following day? Ebbinghaus proved that within 1-2 days, we forget about 80% of what we have learned. It seems a waste doesn't it? There is a way to overcome that problem. At the end of an hour's learning, your mind integrates the information that you have just studied so that your ability to recall it actually rises, peaks after about 10 minutes and then falls off dramatically. Now if you review what you have learnt at that 10 minute point, you will reinforce the information at its strongest in your mind. Your ability to recall this information will remain at a high point for about a day before it begins to drop off rapidly. So it is a good idea to review what you have learnt again after a day. This second review will mean that your ability to recall what you have learnt will remain for about a week before it begins to tail off again so guess what we do after a week? Full marks to those who think we should review again. Schuyler 22 If you are worried about all these reviews, don't be, because with the right note taking technique, each review will only take a couple of minutes. After this third review your recall will last for about a month at which your fourth review will keep the information accessible by you for up to 6 months. A fifth review after 6 months will mean that the information is firmly logged in your long-term memory. So: 1. Study for as long as you like but ensure it is in 20-50 minute chunks with breaks of 10 minutes where relaxation and/or something physical and fun is mandatory. 2. Review what you have learned: 10 minutes after learning; 1 day after learning; 1 week after learning; 1 month after learning; 6 months after learning. (Intelegen) The anonymous but fluent Intelegen author mentions two other key areas – mnemonics and note taking. On the subject of mnemonics, Hwang and Levin ran a series of experiments regarding mnemonic techniques with college and middle school level students, finding that these techniques dramatically improved the ease of encoding and recall of factual information. Significantly, this freed up study and lesson time to focus on the more strategic and relevant information, which has been the primary focus of this paper. In other words, for some of the fundamental factual data which is needed for inquiry and literacy skills, it helps to use timesaving memorization tricks and devices, so that the bulk of study and learning time can be occupied with higher levels of Bloom’s taxonomy like analysis, application and comprehension. Hwang and Levin tell us: Elaboration strategies, which include mnemonic techniques, facilitate the acquisition of factual information because they assist in the encoding process, either by providing familiar connections or by creating new connections between the to-be-remembered information and the learner’s prior knowledge. . . . Mnemonic techniques have proven to be especially effective when the learner has Schuyler 23 little or no prior knowledge of the to-be-remembered information, because such techniques systematically create new connections that can be related to the learner’s prior knowledge. . . .mnemonic techniques are effective with a variety of curricular content for learners from a wide range of ages and skill levels. (Hwang and Levin 27) There is a rich array of these devices, which can be found in virtually any reputable pedagogical textbook. Lesson plans related to this paper will include one or two of these. A short list of those which can be considered includes, Levin’s mnemeric method (Hwang and Levin 27), acronyms, rhymes, the ancient Greek method of loci, pegwords and visualizations. The point here is once again not to offer exhaustive lists of methods, but that if students do not already have good memorization techniques, they need to be overtly taught. In this way they gain control of their own educational approach and teaching can focus on the interesting and relevant rather than rote memorization materials and testing. In the classroom planned as a result of this paper, learning style inventories and references to mnemonic techniques will be given to students, and they will be asked to use their specific learning style strengths and their selected mnemonics for a specific series of homework assignments until they have become second nature as study tools. No matter what the process of remembering, however, it will depend on the ability to take notes well in the first place. The optimal methods of note-taking for any given student will probably vary by the individual student’s preferred input method: visual students will like diagrams, patterned notes and mind maps, auditory students notes or recordings that can be read or played back to them and kinesthetic notes and gestures that can be rewritten and rehearsed for memorization. A variety of techniques are best to allow students to select the one best suited for their unique brain, but probably the Cornell two column note taking method (Cornell), Tony Buzan’s Schuyler 24 “Mind Mapping” techniques (Buzan), and some experience with digital recording devices will be a sufficient base from which students can create their own approach. There is now a good piece of university developed mind-mapping software called Freemind that any student can download for free to make an easy pictorial replica of information, in the increasing number of school and homes that offer computer access (Freemind). Again, the point here is that independence and excellence in harmony require processes and techniques that have to be taught, and these will be taught in the classroom visualized as a result of this research paper. 6. Rich Reflection A critical dimension of understanding our own learning style preferences and the most effective study techniques is reflection and monitoring of our own learning. There are several ways to do this, but one of the most effective is also the simplest – journaling. In “The Effective Use of Student Journal Writing” from the ERIC Clearinghouse on Reading, English, and Communication Digest #99, Gary Cobine tells us: The concept of a "communications triangle" of reading, writing, and discussing implies the need for a methodology whereby the teacher could stimulate the natural interaction of language uses in students to further linguistic development. Specifically, it implies the need for a method with which the teacher could connect reading and writing assignments to teach the art of communicating. As the cornerstone of such a communications method, student journals have proven simple, yet effective. For example, one secondary school teacher . . . . starts with an oral reading of a passage from literature, follows it up with journal writing about the passage, and ends with voluntary sharing of journal entries by students. . . . the teacher, as well as the students, writes about the passage. Then, both to model a Schuyler 25 critical response and to set the students at ease about sharing their own responses, the teacher shares his/her journal entry first. (Cobine 1) Journals clearly offer overall integration of the communication arts, and they also allow monitoring self correction to occur. As the students read and reflect on their progress in understanding literature, writing or other language progress, they are able to assess and troubleshoot specific areas of concern. Cobine goes on to tell us: [the many forms of such writing include] a dialogue journal for engendering communicativeness, a literary journal for stimulating thought, and a subject journal both for augmenting work in a specific subject and for troubleshooting subjectspecific concerns. (Cobine 4) In the English classroom envisioned in this paper, journals will be used for all the purposes outlined by Cobine: teacher dialogue, literary appreciation, subject record, forming simultaneous progress logs for student understanding and review. It is in the latter category that they will offer their writers benefits of self monitoring and metacognition, and in the classroom planned as a result of this paper journals will be a regular feature of instruction. 7 Apprehending Assessment In order for students to fully exploit self monitoring techniques like journals, and get the most from their learning abilities, we need to equip them to understand assessment, to get a feeling for how well they are doing and the experience of success. Richard Stiggins, in his striking article “Assessment, Student Confidence and School Success” in the Kappan Professional Journal believes that the time has come to look at assessment in a whole new light – as a tool for learning, via student involvement. The current cycle of low achievement – poor academic results leading to low expectations, which results in minimal effort and interest, producing, naturally, further poor achievement, can be Schuyler 26 broken. We must find ways to help these students achieve well by careful assignment of tasks and good motivation, then show the students how to self assess this good result so that they build confidence and interest which can drive greater effort and engagement, producing, naturally, better achievement and so on. This will replace the vicious circle with a virtuous one. This is no easy task, since it requires assessment to take place in an atmosphere of strong trust where the teacher is clearly a powerful advocate of the students, and the students are led to build trust and confidence in their own abilities, via tangible evidence and eventually hard work. Still, it is probably the only way to raise the bar for all students. Stiggins tells us: “Students succeed academically only if they want to succeed and feel capable of doing so. If they lack either desire or confidence, they will not be successful. Therefore, the essential question is a dual one: How do we help our students want to learn and feel capable of learning?”(Stiggins 1). Stiggins believes as most of us do, that only success breeds success, and that those students who have never or rarely experienced success may no longer believe they are capable of doing so, and may have begun not to care. In this event, he sees it as crucial to find a way to allow students to succeed, thereby opening up the mental possibility of future success: If these students are to come to believe in themselves, then they must first experience some believable form of academic success as reflected in a real classroom assessment. Even a small success can rekindle a small spark of confidence that, in turn, encourages more trying. If that new trying brings more success, then students' academic self-concept will begin to change. Our goal is to perpetuate this cycle. . . . The direction of the effect is critical. First comes academic success, then comes confidence. With increased confidence comes the belief that learning just might be worth a try. Students must experience success in terms of specifically Schuyler 27 focused, rigorous academic attainments . . . Focused effort with an expectation of success is needed. Students must come honestly to believe that what counts -indeed the only thing that counts here -- is the learning that results from the effort expended. They must perceive effort that does not produce learning as just not good enough. Further, if our students are sincerely trying to do the things we suggest and if they are not finding success, then we had better change the things they are doing. (Stiggins 9) Probably the best approach to begin this virtuous circle is to use a standard rubric, such as those developed by the Alaska State Department of Education for general communication, reading and writing to train the students in assessment (Alaska). Initially teacher and peer assessments would be used and discussed on basic techniques likely to afford opportunities for success such as finding, reading and providing the personal meaning for a simple poem. This can be done including a student’s self assessment which would then be compared to those of the teacher and peers, not only for performance assessment purposes but also to assist in acquiring competence in the techniques and judgments required for evaluation. As time goes by, students will more frequently assess themselves and each other, with the teacher providing only corrective guidance for those whose judgments needed work, or whose interpersonal skills were less than warm and inclusive. This kind of exercise will often show that students are harder on themselves than either peers or teachers, and offer a refreshingly positive view of products that that had regarded as inconsequential or inadequate. But even if this does not occur, the demonstrated ability to accomplish a task and to have that accomplishment seen and acknowledged, with any useful suggestions for improvement made in a positive manner, should begin to work the magic. Repetitions of this kind of experience, handled in the right way, will strengthen critical and judgmental skills, Schuyler 28 social skills and classroom community. As an added bonus it will lighten (but not obviate) the teacher’s burden in review and assessment, and give the students a newfound sense of autonomy and control in their own learning outcomes. Given the need to monitor behavioral issues, watch the clock and plan out instruction time, build relationships and know names and activities as well as delivering excellent variegated instructional techniques, all of them new requirements in many ways to a new teacher, excellence in formative assessment is an extremely steep hill to climb. In the classroom that is envisioned as a result of this paper, we will plan to create a simple clipboard form on computer with the name of each student and a blank space for both academic and behavior notes and force myself to take notes whenever a few seconds’ gap in my own presentations occurs, and use it heavily during individual and group activities. It should offer a good behavior tool, since students should feel slightly on their toes while they are clearly being observing notes are being written down about them, but in addition it will force the teacher to notice things and record them for later use, in the hope of developing a natural habit that can later rely more on instinct and memory. Secondly, we will use the results of this formative assessment to build a picture of those who are struggling with achievement or who have essentially given up the struggle. We will try to segregate the latter set of students into those who don’t care regardless – perhaps they have a behavior disorder or perhaps their non-school lives are so appalling or demanding that their basic needs do not allow a focus on academics. For these we will work with professionals and do what we can to either provide high cost discipline to avoid disruption (behavior disorders) or physical /emotional support (needs not met). The remaining group of low achievers after these have been addressed will probably consist of those whose academic experiences have led them to be pessimists and/or to eventually throw in Schuyler 29 the towel. We hope and estimate that in a balanced rural geographic area these will number no more than perhaps 7-10 students in a 30 student classroom. With these we will develop a) a set of tasks that can interest and engage them, and that can be absolutely within their ability to perform and b) a special way to motivate them to perform these tasks. This motivation will have to be student specific, and we will have to figure out how to challenge the higher achievers with a different yet parallel activity in a fair-minded fashion so that no-one feels singled out or left out in a negative way. Perhaps we have a group project with two different topic areas, both allowing visual or written presentations, and we quietly encourage the low achievers to go for the graphics and ensure they have access to a good artist. Perhaps we do a personal writing project on a topic of choice and we assign a group of high achievers as coaches to the low achievers, offering them good grades on the basis of the coaching skills, analysis of what makes a good writer (excellent metacognition for their own skill building) and whether or not the lower achievers would want to repeat the experience – an anonymous survey. At the same time, we will provide assessment tools to both groups on their own and the other group’s performance – asking them to assess how they performed and how their peer group performed as well as whether they felt they had helped or been helped by the peer group. This will offer huge riches in terms of insight of their abilities and process as well as giving both groups a decent initiation into assessment techniques – self assessment and assessment of others. Techniques of constructive criticism will be taught as well as the instruments themselves and how to score them and very careful monitoring will need to occur to avoid don’t-care scoring and unpleasant comments. We will then give both groups the same reward for a successful outcome – perhaps a visit by a local football star, who happens to have good grades in English and can tell them why these are useful in his chosen avocation. Schuyler 30 Once we achieve success with and for the low achieving group, we will show them the A or B plus grades, we will call each parent and tell them their kid is in a small group of the most improved students, we will display their work all over the walls (with the high achievers, and now they will know they had the same or equivalent grades – though we probably will not display exact grades) and we will ask them to write a journal entry on how the success made them feel and in what areas they feel they can do more work in this way in future. The hope is that this will build great trust in the teacher’s desire for them to succeed and trust in themselves i.e. in their own abilities. With fortune smiling and hard work, we might begin a whole new cycle this way! That would be the most exciting experience for a teacher and the less successful students, well worth the hard work involved. 7. Critical Cognition and Discerning Discourse This skill set is not only important in its own right; it is a crucial prerequisite for critical thinking and discourse, such as those offered through the use of Socratic circles. Matt Copeland’s informative book Socratic Circles: Fostering Critical and Creative Thinking in Middle and High School tells the story of his baptism by fire in entering the world of teaching literature – he had a very hard time in lighting the fire until he realized that students need to talk about literature with each other and on their own terms. In order to do this, Copeland realized that he would have to structure their reading of and thinking about the literature to be discussed with critical questions that are meaningful, and that can lead to inquiry type mental processes analogous to the ones we covered from Jeff Wilhelm. As Copeland tells us: Modern education appears obsessed with answers – both correct and incorrect. It is questions, however, that drive the mind in critical thought. . . . it is the going honest quest for information and understanding through the act of questioning that embodies the true idea of democratic education. . . . It is by following every Schuyler 31 statement with a question to further explore the depth of our thinking that we allow our ideas to grow and develop more fully. (Copeland 7) This is the core reasoning behind Socratic circles, with the added dimension that students question each other, and they do so in their own terms. After a couple of iterations of the circle concept, Copeland realized that it would be even better if we could teach the students to develop their own questions. He now has a whole set of materials and techniques to help them prepare. For the circles themselves, Copeland has students sit in two concentric circles. The inner circle discusses a pre-assigned, pre-read text on which they have done enough work to have questions, ideas and viewpoints to bring to the table. Students in the outer circle do not say a word during this discussion, but make a written critique of the discussion, using a teacher supplied rubric, of the quality, manner and pervasiveness (what proportion of students are involved and how do they invite each others’ comments to flow) of this conversation. They are each paired up with an inner circle student, and if there is a topic on which they have a burning desire to comment, they may pass a written request to this partner to represent their idea to the group. But the outer circle’s primary focus is on the effectiveness and value of their colleagues’ discussion, rather than its content. When the inner circle has completed its discourse or the time has run out, the circles switch and on the same or on another text, the new inner circle starts a prepared discussion and the new outer circler will critique them. In this way they not only conduct their own academic debates and interactions on their own terms: “Doesn’t Lady Macbeth’s taunting of Macbeth to incite him to murder remind you of Senator Palatine’s taunting of Anakin to persuade him to kill the Jedi in Star Wars Revenge of the Sith?” “Yes it does, but what areas did you have in mind?” , it also teaches them to interact courteously, critique each other’s discussion and thought processes with respect, and learn from each other’s critical analyses as well as debating techniques. Copeland tells us: Schuyler 32 Socratic circles are an excellent means of developing a wide range of academic skills. Beyond capturing the imagination and creativity, Socratic circles can build skills in the areas of reading listening, reflection, critical thinking and participation. A benefit of Socratic circles is they bring all the areas of the curriculum together into a cohesive whole. (Copeland 11) Though they are clearly not the only method of inculcating the by now universal objective of critical thinking skills (a great deal of Bloom’s 1956 taxonomy is preoccupied with this), Socratic Circles are an innovative (even if paradoxically also ancient) technique to have students take responsibility for their own comments, thoughts, questions, and in short their own learning process, and they will be used regularly in the classroom planned by this research paper. Copeland again: “Perhaps what Socratic circles offer students and teachers more than anything is the opportunity to practice and hone their skills in critical thinking . . . . students quickly see critical thought as an ongoing developing skill rather than some secretive society to which some students belong and others do not” (Copeland 12). Schuyler 33 Decisions, Decisions – Conferring Choice If we have been successful so far, with at least some of our students, they will have inquiring minds, a connection from literature and language to the needs of real life, an understanding of their personally optimal learning modes, memory and study skills and the ability to conduct critical thinking and discourse. The final link in this chain of power is to help them use all these new found abilities by offering them choice. In their interesting article “Supporting Autonomy in the Classroom,” Stefanou et al tell us . . . .for students to be self determined, they must have their needs for autonomy, competence and relatedness fulfilled in social contexts. Learning itself has an autonomous nature. Recent advances in cognitive learning theory reveal that learning is an active, self-constructed and intentional process. . . . autonomy has been found to promote more persistence on task and increase self-regulation for learning. Clearly student choice is a desirable thing, from the first selection of an inquiry topic, through the ability to contribute intertextual ideas, select learning style preferences, study techniques, assessment evaluations and questions for Socratic discussion. Little additional explication is required here, but it is a key premise of this approach to English classrooms that independence and individual thinking are core objectives of a solid language and literature education, and therefore that enabling students to choose topics which interest and engage them, allow for motivation as well as a greater sense of self determination and power to manage their own learning. It is clearly necessary for teachers to devise a broad curriculum including some classic and mandatory texts; as the PDE standards show, we are responsible for ensuring the acquisition of a rich range of required skills in such a manner as to enable our students to pass standardized tests, as well as take a Schuyler 34 command of them forward in life. But within these frameworks and mandates, the more opportunities we can give students to choose their own destiny, the more invested they will be to ensure that destiny is a good one, full of valuable learning, interesting questions and useful skills. For that reason, students will be invited to select their groups, activities, paper topics and project focus as frequently as possible in the classroom project as a result of this research project. This paper has attempted to show that the success of high school literacy and English language arts instruction in terms of student engagement and capability can be greatly enhanced by lessons containing inquiry and materials/ topics of emotional interest and logical relevance to students, by teaching them metacognitive skills including process, self-knowledge, self- assessment, critical thinking and study strategies, and by providing opportunities for self-control and choice. It is hoped that teachers who take the approach outlined, including the author, will become – in the words of Conan Doyle – true conductors of light, guiding and coaching their students to become curious, accomplished and motivated pursuers of the joys of learning in literate studies and the language arts. Schuyler 35 Works Cited – Section I Alaska Department of Education Rubrics and Scoring Guides Website . 20 Jan. 2006 < http://www.educ.state.ak.us/tls/frameworks/wrldlang/wlinstr3.html#General> Buzan, Tony. How to Mind Map. New York: Penguin Books, 2002. Cobine, Gary. “The Effective Use of Student Journal Writing.” ERIC Clearinghouse on Reading, English, and Communication Digest. 99 2 June 1995. 27 Jan. 2006. <http://www.indiana.edu/~reading/ieo/digests/d99.html> Conan Doyle, Arthur. “The Hound of the Baskervilles.” Strand Magazine. 1901-02. Copeland, Matt. Socratic Circles: Fostering Critical and Creative Thinking in Middle and High School. Portland: Stenhouse, 2005. Cornell Center for Teaching and Learning. “The Cornell Note Taking System.” Cornell University Website. < http://www.clt.cornell.edu/campus/learn/LSC%20Resources/cornellsystem.pdf> 20 Jan. 2006. Cruger, Liz. “Definition of Enquiry.” Exploratorium Institute for Learning Website. Nov. 1998. 14 Jan. 2006 < http://www.exploratorium.edu/IFI/resources/inquirydesc.html> Editorial Projects in Education. “Quality Counts at 10.” Education Week Website. 11 Jan. 2006. 14 Jan. 2006 < http://www.edweek.org/ew/collections/state-of-states/index.html> Einstein, Albert. Ideas and Opinions. New York: Crown Publishers, 1954. 79-80. Freemind Software. Freemind Website. 20 Jan. 2006. <http://freemind.sourceforge.net/wiki/index.php/Main_Page> Hellweg, Eric. “Hip Hop High.” Edutopia Magazine. The DJ Project Website. Sept. 2005. 12 Dec. 2005. <http://www.thedjproject.com/press_090105.htm. /> Schuyler 36 Hwang, Yooyeun and Joel R. Levin “Examination of Middle-School Students' Independent Use of a Complex Mnemonic System” Journal of Experimental Education. 71.1 (Fall 2002) 25-38 Intelegen. “Your Memory’s Natural Rhythms.” Memory, the Brain and its Natural Learning Rhythms Intelegen website 20 Jan. 2006 <http://brain.web-us.com/brain/brainmemoryrythms.htm> Jensen, Eric. Brain Based Learning. San Diego: The Brain Store, 1995. Jensen, Eric. “Teaching with the Brain in Mind” Association for Curriculum Development Website. 1998. Dec. 5. 2005 http://www.ascd.org/xchange/threads/nodes/brain/extjensen.html/ Santo, Susan. “Learning Styles and Personality.” University of South Dakota website. Dec. 2005. 14 Jan. 2006. <http://www.usd.edu/~ssanto/gregorc.html> Santrock, John W. Life-Span Development. New York: McGraw-Hill, 2004. Silver, Debbie. Drumming to the Beat of a Different Marcher. Nashville: Incentive Publications Inc., 2003 Smith, Sara M. Scriptorum Online Textbook. Houston. Texas UP. 28 July 2004. 14.jan. 2006 <http://www.uth.tmc.edu/scriptorium/textbook/learning.html> Stefanou, Candace R. et al. “Supporting Autonomy in the Classroom.” Educational Psychologist. 39.2. 2004. 97-110. Stiggins, Richard J. ” Assessment, Student Confidence and School Success”. Kappan Professional Journal. 6 August 2001. 5 Dec. 2005. <http://www.pdkintl.org/kappan/k9911sti.htm/> Strong, Richard, Harvey F. Silver and Amy Robinson. “What do Students Want and What Really Motivates Them?” Educational Leadership. Sept 1995. 12 Dec. 2005 http://www.middleweb.com/StdntMotv.html/ Wiggins, Grant & Jay McTighe. Understanding by Design. Upper Saddle River, NJ: Prentice Hall, 2001 Wilhelm, Jeff and Michael Smith. Going with the Flow. Portsmouth: Heinemann, 2006 Schuyler 37 SECTION III – CORRESPONDING CURRICULUM 10. 12th Grade – Reading, Writing and Macbeth by William Shakespeare Week 1 1. Macbeth Act I Theme & motif in literature (review) Plot summary and journaling – question construction Inquiry question: – What makes a person turn to the dark side? – Identification of contemporary examples of all the motives students find 2. Introduction to the Medieval Great Chain of Being & Divine Right of Kings Introduction to 2 core thematic clusters in Macbeth Reading of Act I and mapping the theme clusters into a worksheet Macbeth Act II Plot in literature (review) Reading Quiz on Act I Class and homework theme mutual assessment and review Inquiry question: – By what process does a person turn to the dark side? Mapping of this process into a mini-plot Reading of Act II and mapping the theme clusters into a worksheet Schuyler 38 Week 2 3. Macbeth Act III Inner conflict in literature (review) Reading Quiz on Act II Introduction to Learning Styles and/or Note Taking: Cornell and Mind Mapping methods Class and homework theme mutual assessment and review Overview of Socratic Circles method of discussing literature Intertextual comparison of the temptation scenes in Macbeth and Star Wars 3: Revenge of the Sith 4. Reading of Act III and mapping the theme clusters into a worksheet Macbeth Act IV Socratic Circles discussion method in literature (review) Reading Quiz on Act III Methods and structure of assessment for Socratic circles with Rubric Class and homework theme abbreviated mutual assessment and review Recap of Socratic Circles method of discussing literature and clear statement of benefits and methods Socratic Circle discussion of Act III Reading of Act IV and mapping the theme clusters into a worksheet Schuyler 39 5. Macbeth Act V Character development in literature (review) and note taking review. Reading Quiz on Act IV Write around group exercise on ““Why do you think that Macbeth keeps doing bad things, even though he was unhappy with life after the first murder?” Class and homework theme Act IV mutual assessment and review Introduction to Macbeth character study essay topics to select from Macbeth and Lady Macbeth character overviews and note taking practice Reading of Act V and mapping the theme clusters into a worksheet Week 3 6. Macbeth Written Essay Essay structure and thesis composition (review). Reading Quiz on Act V Selection of essay topics Review of writing planning process and paired construction of essay plan Assembly of essay materials from prior theme, dark side cause and process worksheets Reading of Act V and homework theme worksheets Introduction of final practical life project topics to select from Beginning to draft the Macbeth essay to be completed for homework 11. 11th Grade – Reading, Writing, and The Adventures of Huckleberry Finn by Mark Twain – similar series of lessons adapted for American Literature Schuyler 40 SECTION IV – LIVELY LESSONS 12th Grade Lesson Sequence Lesson Plan – Macbeth 1 Pre-service Teacher Mandy Schuyler Cooperating Teacher___________________ School / Grade McDowell Grade 12 Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Introduction to Macbeth through the inquiry: “What makes a person go over to the dark side?” through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives Assessments 1. Students will become engaged with the inquiry question and relate it to prior experience 1. Meaningful bellringer and worksheet responses. Engaged questions and discussion. Good examples of figures who yielded to temptation 2. Insightful questions raised for future use. Good plot synopsis and selection of events which shed light on the story’s theme 3. Accurate identification of specific instances of the themes of ‘unnaturalness’ and ‘reality vs appearance in the first acts of the play 2. Students will acquire a general overview of the play ‘story’ and be able to compare it to their own ideas 3. Students will refresh the concept of ‘theme’ and will begin to use it to find the threads of meaning through Macbeth Materials: Macbeth by William Shakespeare Bellringer poster or blackboard display Dark Side worksheet Theme overhead Theme Act I Worksheet Handout of play summary Anticipatory Set: Bellringer: Think of a time when you or someone close to you gave in to an impulse that you knew to be wrong. Very briefly describe this event and give short answers to the following questions: A. In retrospect, why did you/they decide to do the wrong thing? B. What happened as a result? C. How did you feel? D. Did you/they make things right? E. If so how hard was that? 5 minutes. The class will pair up and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will ask the class to share their definition of “theme” and “motif” in a literary work, referring to their notes or to a textbook definition if needed. The teacher will then display definitions of theme and motif on an overhead projector or the blackboard (see page 3 attached). Students will be asked to give examples of themes and motifs from works previously studied. 5 minutes. Schuyler 41 Procedure: 1. Macbeth story line. Students will be given a handout of the plot summary of Macbeth (see pages 4-5) and will take turns in reading it aloud. At the end of the reading they will be asked to think of three questions that arose in their mind as a result of the brief synopsis of the play, and which they hope to answer as we read through the text and write them into their journals along with their impressions of the play’s story line so far. 15 minutes 2. Students will be given a worksheet entitled “What makes a person turn to the dark side?” (pages 6 & 7). They will assemble into groups which will be asked to brainstorm human impulses such as greed, fame, power etc which can trigger a decision to do something perceived to be wrong, and then find examples from life, pop. culture, history and literature of people who have given in to temptation for the kinds of reasons the group identifies. 15 minutes 3. Students will be introduced to the medieval Great Chain of Being with its theory of correspondences showing the equivalent imagery for ‘sun’ ‘king’ ‘oak tree’ ‘lion etc. (pages 8 & 9). and asked to take notes on these, perhaps guess what the highest sea animal might be (dolphin). 10 minutes 4. Students will be introduced to the two thematic clusters in Macbeth – 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain (anointed King) and – 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. 5 minutes. 5. The first two scenes of Act I of Macbeth will be read aloud in class and the students will use the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur, with the teacher modeling the first two entries. They will be asked to read the rest of Act I as homework (in an annotated edition) and come to class ready to discuss the themes they have filled into the worksheet and take a reading quiz. This quiet reading will begin in class. 20 mins Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side.” Additional Concept Related Activity: If there is extra time (unlikely) students will be asked to begin to map out the process of the stages of going over to the dark side in their journals – what do they predict might happen in Macbeth’s mind as he considers the possibility of being king and in what sequence might these feelings occur. Schuyler 42 Slide 1 Literary “Theme” Theme: (1) A central idea or statement that unifies and controls an entire literary work. The theme can take the form of a brief and meaningful insight or a comprehensive vision of life; (2) Frequently recurring ideas, such as enjoy-life while-youcan; (3) Repetition of a meaningful element in a work, such as references to sight, vision, and blindness in Oedipus Rex. Sometimes the theme is also called the motif. Themes in Hamlet include the nature of filial duty and the dilemma of the idealist in a non-ideal situation. A theme in Keats's "Ode to a Nightingale" is the difficulty of correlating the ideal and the real. Source: website of the City University of New York http://academic.brooklyn.cuny.edu/english/melani/lit_term.html > MOTIF: A conspicuous recurring element, such as a type of incident, a device, a reference, or verbal formula, which appears frequently in works of literature. For instance, the "loathly lady" who turns out to be a beautiful princess is a common motif in folklore, and the man fatally bewitched by a fairy lady is a common folkloric motif appearing in Keat's "La Belle Dame sans Merci." Source: Carson Newman College website, TN. http://web.cn.edu/kwheeler/lit_terms_M.html Schuyler 43 Summary of Macbeth Generals Macbeth and Banquo crush a revolt against King Duncan of Scotland in an engagement in which Macbeth fights with great valour. On their way back to the king's castle, they happen upon three witches in the blackness of a heath during a thunderstorm. The witches predict Macbeth will one day become king. They also predict that Banquo will beget a line of kings, although he himself will not ascend the throne. After Macbeth presents himself before Duncan, the king heaps praises on the general for his battlefield prowess and announces he will visit Macbeth at his castle. Later, at home, Macbeth cannot stop thinking about the witches' prediction: ME, KING! Intoxicated with the thought of wearing the crown, Macbeth decides to hasten history along: He will murder Duncan. Macbeth's wife, Lady Macbeth, applauds his plan. But she worries that he is ''too full o' the milk of human kindness'' to carry through with the murder. After Duncan arrives at Macbeth's castle with his sons and his entourage, Macbeth has second thoughts about the murder plot during supper and leaves the table to battle his conscience. Lady Macbeth follows. ''We will proceed no further in this business,'' Macbeth tells his wife. ''He [Duncan] hath honour'd me of late; and I have bought golden opinions from all sorts of people, which would be worn now in their newest gloss, not cast aside so soon.'' But Lady Macbeth holds him to his vow to kill Duncan, saying, ''I have given suck, and know how tender 'tis to love the babe that milks me: I would, while it was smiling in my face, have pluck'd my nipple from his boneless gums, and dash'd the brains out, had I so sworn as you have done to this.'' Macbeth, swayed, asks her: ''If we should fail?'' She answers, ''But screw your courage to the sticking-place, and we'll not fail.'' At midnight, while King Duncan sleeps, Lady Macbeth drugs the king's guards and rings a bell signalling Macbeth that all is ready. Using a dagger of one of the guards, Macbeth murders Duncan, and Lady Macbeth smears blood on the sleeping guards. Early in the morning, a nobleman named Macduff calls at the castle to visit King Duncan. ''O horror, horror, horror!'' he exclaims upon entering Duncan's room and discovering the body. Before anyone can investigate, Macbeth kills the guards, claiming their bloodied daggers are proof that they committed the foul deed. Duncan's sons, Malcolm and Donalbain, do not for a moment believe Macbeth. However, fearing for their own lives, they flee Scotland. Their hasty departure makes them appear guilty, so the crown passes to the nearest eligible kin, Macbeth. But now that he is king, Macbeth cannot rest easy. He remembers too well the prophecy of the witches that Banquo will father a kingly line. So Macbeth sends hired assassins to murder Banquo and his son as they travel to Macbeth's castle for a great feast. Ambushing their prey, the assassins slay Banquo ''with twenty trenched gashes on his head,'' but his son, Fleance, escapes. Just as the feast begins, one of the assassins gives Macbeth the news. When Macbeth sits down to eat, the bloodied ghost of Banquo appears to him but to no one else. Macbeth begins to act and speak strangely, and one guest, Ross, says, ''Gentlemen, rise: his highness is not well.'' But Lady Macbeth entreats the guests to remain in their seats, for ''my lord is often thus, and hath been from his youth. . . . The fit is momentary; upon a thought he will be well again.'' After the ghost Schuyler 44 vanishes, Macbeth regains himself and tells his guests that he has a strange infirmity ''which is nothing to those that know me.'' The ghost then reappears and Macbeth shouts, ''Avaunt! and quit my sight! let the earth hide thee! Thy bones are marrowless, thy blood is cold; thou hast no speculation in those eyes which thou dost glare with!'' When Ross questions Macbeth about what he has seen, Lady Macbeth says the king's fit has grown worse, and she sends the guests away. Later, preoccupied with the fear of being discovered, Macbeth begins to suspect that Macduff who refused to attend the feast - is onto him. When Macbeth meets with the witches again, an apparition tells him he has good reason to fear Macduff. But the witches also ease his fears when another apparition tells him that no man born of woman can harm him. He is also told that no one can conquer him until Birnham Wood comes to Dunsinane. After the meeting, Macbeth learns that Macduff is urging Duncan's son, Malcolm, to reclaim the throne. In revenge, Macbeth has Macduff's wife and son murdered. When Macduff hears the terrible news, he organizes an army to bring down Macbeth. Meanwhile, Lady Macbeth's conscience - long absent earlier - now begins to torture her. She talks to herself and hallucinates, imagining that her hands are covered with blood. After Macduff's forces arrive at Birnham Wood and advance on the castle at Dunsinane, Macbeth prepares for battle just as Lady Macbeth's battle with her conscience ends in suicide. As they advance, Macduff's invaders cut branches of trees to hold in front of them for disguise. Birnham Wood is coming to Dunsinane, just as the witches predicted! Finally, Macbeth meets Macduff in hand-to-hand combat, bragging that he will win the day because ''none born of woman'' can harm him. Macduff then reveals that he was not ''of woman born'' but was ''untimely ripp'd'' from his mother's womb. Macduff then kills Macbeth, and Malcolm becomes king. Source: Gardner, Philip. Principal of East Doncaster Secondary College (High School Equivalent), Victoria, Australia. < http://www.eastdonsc.vic.edu.au/home/pgardner/vate/Macsummary.html> Schuyler 45 INQUIRY : WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE? Hypotheses: 1. 2. 3. 4. 5. Notes: Students should brainstorm these out, rather than being given them and students’ terminology should be used, but if they have difficulty in finding the categories we can suggest them Student examples should be used – we can use the table below to give them an idea of what we are trying to do Fear Greed/riches Fame & glory Pleasure, long life, sensual experience Power EXAMPLES OF PEOPLE TEMPTED BY EACH KIND OF IMPULSE FEAR GREED FAME/GLORY PLEASURE, LIFE POWER Literature/Fiction The Godfather Lord of the Rings (Gollum – also greed) Wall Street (movie) Dickens (most) King Midas Achilles Ray (the movie) Faust The Matrix Black Widow (movie) Portrait of Dorian Gray Richard II Disclosure (Crichton movie or book) Life/Pop culture Sergeant English (Iraq) Navy women silently harassed Enron: Skilling, Lay Abramoff Lyle Alzado (NFL End/Tackle – died of steroids 1992) Paris Hilton Michael Jackson Rush Limbaugh President Clinton Martha Stewart Saddam Hussein History Russian Czar Nicholas (fear of Rasputin) Pres. James Garfield (bribed by construction corp.) Marylin Monroe Judy Garland Alexander the Great Napolean Bonaparte (set aside queen for Josephine) Anthony (Cleopatra) Nero (caroused while Rome burned) Hitler Ghengis Khan Muammar Quaddafi Schuyler 46 INQUIRY : WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE? Name_________ Block_____ Take a moment in your groups to think about what might make a previously well behaved person decide to go over to the dark side- i.e. to do something or -things that they themselves know/consider to be profoundly wrong. Things to evaluate might include fear, greed, desire for fame & glory, pleasure or extended life and power. What others can you see? Which are most common? Note that they are not mutually exclusive, for example fame and glory might also bring money and/or power, but you are looking for the primary motivation here. Hypotheses: 1. _____________ 2. _____________ 3. _____________ 4. _____________ 5. _____________ Now see how many examples you can think or that fall in each category – they can be from life, from books or movies, from history. Try to find ones that you are familiar with and interest you, as we’ll be doing more work with these later. EXAMPLES OF PEOPLE TEMPTED BY EACH KIND OF IMPULSE 1. Literature/Fiction Life/Pop culture History 2. 3. 4. 5. Schuyler 47 Medieval Great Chain of Being Christ as God Cherubim Angelic kingdom: Understanding Seraphim Seraphim and Cherubim Archangels King (Political) Angels (9 choirs) Christ as Man Pope (Sacred) Animal (human) kingdom: Touch Memory Hearing Movement and understanding = Man King Pope Nobles (Duke) Cardinals Lesser Nobles Archbishops Landowners Bishops Artisans Priests & Monks Peasants Laymen Lion Existence, Life Feeling and Understanding Dolphin Animal kingdom: Existence, Life Touch Memory Hearing Movement and Feeling 4 Footed Animals & Sea Creatures Touch Memory Movement e.g. Ants, Insects, Slugs etc. Oak Existence Vegetable kingdom: Trees, Grasses and Life Plants, Flowers etc. Inanimate kingdom: Existence Water Rocks etc. Schuyler 48 Theory of Correspondences Top Secular Human Top Sacred Human Top Planet Top Sea Animal Top Land Animal Top Vegetation King Pope Sun Dolphin Lion Oak Elements Humours Fire Yellow Bile Air Blood Water Phlegm Earth Black Bile Schuyler 49 FINDING THE THEMES AND MOTIFS IN MACBETH – ACT I Name_________ Block_____ Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find: 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain of being (especially the body or office of an anointed King) 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. THEMES THROUGH THE PLAY OF MACBETH Description of event Unnatural as Supernatural Bestial, AntiNatural Crime against Great Chain Appearance vs. Reality as Hiding intentions Reluctance to act on desire Real values vs perceived desires Quotation Act – Scene – Line# Ref. Schuyler 50 THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT I Unnatural as Supernatural Description of event & why it represents the theme Quotation Act – Scene – Line# Ref. 1. Witches 1st scene–introduces doers of unnatural deeds 1. Whole scene as a harbinger of storm, witches & familiars and their plan to meet with Macbeth 2. “But in a sieve I’ll thither sail/ And like a rat without a tail/ I’ll do and I’ll do and I’ll do. 3. What can the devil speak true? Act 1 Scene 1 1. Sergeant boasts the super -human bravery of Macbeth & Banquo – may foreshadow their ‘unnatural’ fates 2. Banquo thinks the witches beards belie their womanhood 3. Lady Macbeth begs to be inhuman so that she can help make Macbeth kill 4. Macbeth thinking it is unnatural to kill a king as virtuous as Duncan 5. Lady Macbeth furious at Macbeth’s lack of resolve 1. Yes;/As sparrows eagles, or the hare the lion. 2. You should be women/ And yet your beards forbid . . . that you are so 3. Come you spirits that tend on mortal thoughts unsex me. . . cry ‘hold, hold!’ 4. First, as I am his kinsman and his subject, . . . then, as his host. . … pity, like a naked new-born babe, 5. I have given suck, . . . babe that milks me: I would, while it was smiling in my face. .. And dash'd the brains out Act 1 Scene 2 Lines 39-40 1. Ref. to the potential demise of a king 2. Sergeant: Macdonwald is unnatural to fight against his appointed sovereign 3. Note Duncan as rightful king ‘natural’ talks of growing, plants 4. Lady Macbeth says king and sun both will not see the morrow of his living 1. That will be ere the set of sun 2. The multiplying villanies of nature/Do swarm upon him Act 1 Scene 1 Ln 6 Act 1 Scene 2 Lines 14-15 3. I have begun to plant thee and will labour/to make the full of growing 4. O never/Shall sun that morrow see Act 1 Scene 4 Lines 33-34 Act 1 Sc.5 69-70 2. Witches next scene – refers to supernatural deeds – sailing in a sieve, bewitching a sailor, turning into a rat 3. Banquo reacts to 1st prophecy real Bestial, AntiNatural Crime against Great Chain Act I Scene 3 Lines 10-12 Act 1 Sc. 3 L. 113 Act 1 Scene 3 Lines 48-49 Act 1 Scene 5 Lines 45-58 Act 1 Scene 7 Lines 19-22 Act 1 Scene 7 Lines 60-65 Schuyler 51 Appearance vs. Reality as Hiding/ all not what it seems 1. Witches chant 2. Banquo response to coming true of witches 1st prophecy 3. Macbeth reaction to it 4. Macbeth’s reaction to Malcolm’s appointment as heir to the throne (also reluctance to act on/see results of desires) 5. Lady Macbeth planning the murder 6. Macbeth finally resolved to murder Reluctance to act on desire Against his ‘nature’ 1. Macbeth soliloquy on becoming Thane ( also self-perceived ‘unnatural’) 2. Lady Macbeth doubts her man can do the deed to get the crown he wants so badly 3. Macbeth changes his mind Real values vs perceived desires 1. Fair is foul and foul is fair 2. Oftentimes, to win us to our harm, /the instruments of darkness tell us truths/ win us with honest trifles to betray’s/in deepest consequence 3. Nothing is, but what is not 4. Stars, hide your fires;/Let not light see my black and deep desires:/ the eye wink at the hand; yet let that be, / Which the eye fears, when it is done to see. 5. Look like the innocent flower/But be the serpent under’t 6. Mock the time with fairest show: False face must hide what the false heart doth know. Act 1 Scene 1 L. 13 Act 1 Scene 3 Lines 132-35 1. Why do I yield to that suggestion whose horrid image does unfix my hair and make my seated heart knock at my ribs against the use of nature? 2. Yet do I fear thy nature;/It is too full of the milk of human kindness. . . and yet wouldst wrongly win 3. We will proceed no further in this business:/He hath honour'd me Act 1 Scene 3 Lines 142-45 Act 1 Sc. 3 L. 150 Act 1 Scene 4 Lines 57-60 Act 1 Scene 5 Lines 74-75 Act 1 Scene 7 Lines 92-93 Act 1 Scene 5 Lines 17-26 Act 1 Scene 7 Lines 34-35 52 Lesson Plan – Macbeth 2 Pre-service Teacher Mandy Schuyler Cooperating Teacher___________________ School / Grade McDowell Grade 12 Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Study of Macbeth Acts I and II through the inquiry: “What makes a person go over to the dark side?” and through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives Assessments 1. Students will become familiar with their own learning styles or a new note taking method 1. Learning styles inventory or notes in the new format 2. Students will identify instances of the themes in Acts I and II of Macbeth 2. Accurate identification of specific instances of the themes of ‘unnaturalness’ and ‘reality vs appearance in the first acts of the play 3. A good diagram of the dark side process onto which Macbeth’s experience can be mapped 3. Students will refresh the concept of ‘plot’ and will begin to use it to identify the process of turning to evil in Macbeth Materials: Macbeth by William Shakespeare Bellringer poster or blackboard display Dark Side process worksheet Plot overhead Theme Act II Worksheet Handout of play summary Anticipatory Set Bellringer: What do you think are three key ingredients for the process of going over to the dark side? Why is each one necessary? Use examples from life, your own experience or the play. 5 minutes. The class will pair up and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will ask the class to share their definition of “plot” in a literary work, referring to their notes or to a textbook definition if needed. The teacher will then display a definition of plot on an overhead projector or the blackboard (see page 3 attached). Students will be asked to give examples of plot structures from works previously studied. 5 minutes. Procedure: 53 1. Reading Quiz on Act I of Macbeth (see page 4). 2. Learning styles or study skills. Teacher will ask the class how many people are clearly aware of their best method of taking in information through having done a learning styles inventory before. If most people have already done one, she will give the handout to those who have not and who are interested, and teach note taking in the Cornell method (for auditory and kinetic learners and the Buzan mind mapping method (for visual learners)(Pages 7 & 8). If not, the class will do the learning styles inventory and pair up to share the results (Pages 5 & 6). 15 minutes 2. Students will review their theme worksheets from class and homework, comparing their results with an elbow partner, and marking each theme area found as accurate or inaccurate for each other. Teacher will go through examples of all six areas of theme from the answer sheet, and collect the homework. 4. Students will be given a worksheet entitled “What is the process of turning to the dark side?” (pages 6 & 7). They will assemble into groups which will be asked to brainstorm the ingredients of a situation (e.g. dissatisfaction with the status quo, opportunity presenting itself for change, urging by a powerful other, doing the first wrong action, becoming used to it etc) which can trigger a decision to do something perceived to be wrong, and then to continue dark deeds, and map out the process using their own examples. 15 minutes 5. The first two scenes of Act II of Macbeth will be read aloud in class and the students will use the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur. They will note the change in theme from hiding intention to hiding action and from reluctance to act to regret at action as Macbeth progresses in evil deeds. They will be asked to read the rest of Act II as homework (in an annotated edition) and come to class ready to discuss the themes. This quiet reading will be begun in class. 20 minutes Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side, and what is the process of doing it.” Additional Concept Related Activity: If there is extra time (unlikely) students will be asked to begin to map out the process of the stages of going over to the dark side in their journals – what do they predict might happen in Macbeth’s mind as he considers the possibility of being king and in what sequence might these feelings occur. 54 Slide 1 Literary “Plot” Plot: The structure of a story. Or the sequence in which the author arranges events in a story. The structure of a five-act play often includes the rising action, the climax, the falling action, and the resolution. The plot may have a protagonist who is opposed by antagonist, creating what is called, conflict. A plot may include flashback or it may include a subplot which is a mirror image of the main plot. For example, in Shakespeare's, "King Lear," the relation ship between the Earl of Gloucester and his sons mirrors the relationship between Lear and his daughters. Source: Nellen, Ted English Teacher, Information Technology High School; Chair, NCTE technology chapterhttp://www.tnellen.com/cybereng/lit_terms/terms/2terms.html#Plot 55 READING QUIZ ON ACT I OF MACBETH Name_______________ Block____ Date_______ 1. Who is Macbeth (his title) at the beginning of the play? 2. Why does he think he could become King of Scotland? 3. Which country is Scotland fighting? 4. Why does the King of Scotland want to bestow land and titles on Macbeth? 5. What new title does Macbeth receive? 6. How does Lady Macbeth hear the news of his promotion? 7. What does Lady Macbeth think Macbeth should do now? 8. What do the witches prophesy for Banquo? 9. Why does Macbeth get upset when Duncan makes his son Prince of Cumberland? 10. What characteristic in Macbeth does his wife think will prevent him taking the throne? 56 LEARNING MODE PREFERENCES Name_________________ Block____ Put a check next to the statements you agree with: 1. I prefer to hear a book on tape rather than reading it. 2. When I put something together, I always read the directions first. 3. I prefer reading to hearing a lecture. 4. When I am alone, I usually have music playing or hum or sing. 5. I can always tell directions like north and south no matter where I am. 6. I love to write letters or in a journal. 7. When I talk, I like to say things like, "I hear ya, that sounds good, that rings a bell." 8. I love working with my hands and building or making things. 9. I know most of the words to the songs I listen to. 10. When others are talking, I am creating images in my mind of what they are saying. 11. It's easy to talk for long periods of time on the phone with my friends. 12. Without music, life isn't any fun. 13. When looking at objects on paper, I can easily tell whether they are the same no matter which way they are turned. 14. I usually say things like, "I feel, I need to get a handle on it, or get a grip." 15. When I recall an experience, I mostly see a picture of it in my mind. 57 16. When I recall an experience, I mostly hear the sounds and talk to myself about it. 17. When I recall an experience, I mostly remember how I felt about it. 18. I like music more than art. 19. I often doodle when I am on the phone or in a class or meeting. 20. I prefer to act things out rather than write a report on them. 21. I like reading stories more than listening to stories. 22. I like talking better than writing. 23. I like to write down instructions that people give me. 24. I can easily remember what people say. 25. I learn best by doing. 36. It is hard for me to sit still for very long. Key: Auditory: Visual: Tactile-Kinesthetic: 1,4,7,9,11,12,16,18,22,24 2,3,6,10,15,19,21,23 5,8,13,14,17,20,25,26 58 The Cornell Note-taking System Cue Column Notetaking Column (about 2 inches) (about 4-5 inches) Pull out the key words and phrases that summarize the key points in your notes to the right to make them easy to remember ( the headings on the left of the notetaking column would make a good example of what to put in this column when you actually take notes) 1. Record: During the class, use the note-taking column to record the lecture using telegraphic sentences. 2. Questions: As soon after class as possible, make up questions based on the notes in the right-hand column. Writing questions helps to clarify meanings, show relationships, see connection, and improve memory. Also, the writing of questions sets up a perfect stage for exam-studying later. 3. Recite: Cover the note-taking column with a sheet of paper. Then, look at the questions or cue-words in the question and cue column only, & say aloud, in your own words, the answers to the questions, facts, or ideas indicated by the cue-words. 4. Reflect: Reflect on the material by asking yourself questions, for example: “What’s the significance of these facts? What principle are they based on? How can I apply them? How do they fit in with what I already know? What’s beyond them? 5. Review: Spend at least ten minutes every week reviewing all your previous notes. If you do, you’ll retain a great deal for current use, as well as, for the exam. Summary: (about two inches deep). After class, use this space at the bottom of each page to summarize the notes on that page. Adapted from How to Study by Walter Pauk, 2001 Houghton Mifflin Company 59 Mind Maps A Mind Map® is a powerful graphic technique for note taking because it allows the use of the natural connectors of the brain. It was developed by Tony Buzan in the late 1960's How to Mind Map 1. Turn a large letter (11" x 8.5") or legal (14" x 8.4"), white sheet of paper on its side (landscape). 2. Gather a selection of colored pens, ranging from fine nib to medium and highlighters. 3. Select the topic, problem or subject to be Mind Mapped. 4. Gather any materials or research or additional information. 5. Start in the centre with an unframed image – approximately 3 inches wide and an inch high. 6. If you like, use dimension, expression and at least three colors in the central image in order to attract attention and aid memory. 60 INQUIRY : WHAT IS THE PROCESS OF HOW A PERSON MAY GO OVER TO THE DARK SIDE? Hypotheses: 1. 2. 3. 4. 5. 6. 7. 8. Notes: Students should brainstorm these out, rather than being given them and students’ terminology should be used, but if they have difficulty in finding the categories we can suggest them Student examples will be used – we can use the mini plot structure below to give them an idea of what we are trying to do Dissatisfaction with the status quo Opportunity to do something (against one’s principles) about it Persuasive other – boy/girlfriend, parent, good friend, partner in crime etc Decision that the desired goal is more important than one’c conscience First bad act – resulting in success or failure Becoming inured to acting against one’s conscience Enjoying the evil Coming to a sticky end of some sort by loss of friendship, respect, position, freedom or life Going Over to the Dark Side Name__________________ Embraces Evil 1st incident/temptation Sticky end 61 INQUIRY : WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE? Name_________ Block_____ Take a moment in your groups to think about the process of how a previously well behaved person might decide to go over to the dark side. Things to consider might be dissatisfaction with their life or situation, an opportunity to do something about it; a persuader; the decision to act, the first bad action and what happens, getting used to doing bad things, even enjoying it, and possibly coming to a sticky end of some sort by loss of friendship, respect, position, freedom or life. Think of as many stages as you can and put them in order. Hypotheses: 1. _____________________________________ 2. _____________________________________ 3. _____________________________________ 4. _____________________________________ 5. _____________________________________ 6. _____________________________________ 7. _____________________________________ Now see how one of your examples might map onto this “mini plot” of how people turn to evil, when they do: Going Over to the Dark Side Name__________________ Embraces Evil 1st incident/temptation Sticky end 62 FINDING THE THEMES AND MOTIFS IN MACBETH – ACT II Name_________ Block_____ Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find: 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain of being (especially the body or office of an anointed King) 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. THEMES THROUGH THE PLAY OF MACBETH Description of event Unnatural as Supernatural Bestial, AntiNatural Crime against Great Chain Appearance vs. Reality as Hiding intent or deed Apparent/real regret at actions Real values vs perceived desires Quotation Act – Scene – Line# Ref. 63 THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT II Unnatural as Supernatural Description of event & why it represents the theme Quotation Act – Scene – Line# Ref. 1. Macbeth ‘dagger’ speech 1. Nature seems dead and wicked dreams abuse the curtain’d sleep 2. Approach the chamber and destroy your sight with a new Gorgon. . .Ring the bell Act 2 Scene 1 Lines 59-67 Act 2 Scene 3 Lines 91-101 1. I heard a voice cry ‘Sleep no more Macbeth does murder. . at life’s feast.’ 2. This my hand will rather the multitudinous seas incarnadine 3. This night has been unruly . . .did shake 5. Thou seest the heavens as troubled with man’s act . . .eat each other Act 2 Scene 2 Lines 46-51 Act 2 Scene 2 Lines 76-77 Act 2 Scene 3 Lines 69-76 Act 2 Scene 3 Lines 123-25 Act 2 Scene 4 Lines 7-22 1. I could not say ‘Amen’ when they did say ‘God bless us’ 2. His gash’d stabs look like a breach in nature for ruin’s wasteful entrance Act 2 Scene 2 Lines 38-9 Act 2 Scene 3 Lines 141-43 2. Macduff description of seeing Duncan dead Bestial, AntiNatural 1. Macbeth has killed sleep 2. Macbeth thinks his guilty hand will turn all the seas red 3. Lennox tells of the unnatural events of the night 4. Macbeth tells Donabain the fountain of his blood’ is dead 5. Ross & old man discussing the night & king’s death Crime against the King & Great Chain 1. Macbeth unable to pray (killed a king so he is cursed) 2. Macbeth describing Duncan’s body with its wounds 4. You are and do not know’t. . . is stopp’d 64 Appearance vs. Reality as Hiding intent or deed 1. Lady Macbeth tells Macbeth to get on a night gown 1. Get on your nightgown lest occasion call us and show us to be watchers Act 2 Scene 2 Lines 88-89 2. Donalbain describes men & relatives as concealing danger 2. There’s daggers in men’s smiles: the near in blood, the nearer bloody Act 2 Scene 3 Lines 76-77 Regret at what he has done (apparent & real) 1. Macbeth looking at his bloody hands 2. Macbeth can’t look at his victim 3. Macbeth telling Lady M & the nobles knocking at the door of his regret 4. Macbeth ‘regretting’ the grooms’ death to Macduff & Lennox 1. This is a sorry sight 2. I’ll go no more. . . I dare not 3. To know my deed, ‘twere best not know myself. . .I would thou couldst! 4. O yet I do repent me of my fury that I did kill them Act 2 Sc. 2 L. 28 Act 2 Sc. 2 63-65 Act 2 Scene 2 Lines 90-92 Act 2 Scene 2 Lines 134-35 Real values vs perceived desires 1. Speech of regret carries possibly true feelings that his real life is over now he has stepped over the line 1. Had I but died an hour before . . . is left this vault to brag of Act 2 Scene 2 Lines 116-21 65 Lesson Plan – Macbeth 3 Pre-service Teacher Mandy Schuyler Cooperating Teacher___________________ School / Grade McDowell Grade 12 Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Study of Macbeth Acts II and III through the inquiry: “What makes a person go over to the dark side?” and through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives Assessments 1. Students will be introduced to the concept of Socratic circles and trained on the process 1. The following lesson’s discussion 2. Students will identify instances of the themes in Acts II and III of Macbeth 4. Accurate identification of specific instances of the themes of ‘unnaturalness’ and ‘reality vs appearance in the 2nd & 3rd acts of the play 3. Students will compare the process of being tempted to go over to the dark side in Macbeth and in Star Wars 3 Revenge of the Sith and show similarities and differences Materials: 5. Group comparison worksheet well created and mapped Macbeth by William Shakespeare Bellringer poster or blackboard display Socratic Circles overview Plot overhead Themes Act III Worksheet Scripts from Lady Macbeth and Palpatine temptation scenes Anticipatory Set Bellringer: What do you think are three most powerful emotions a friend could play on if they were trying to get you to break school rules or defy your parents? Why would each affect you? Give one example of a time you felt these emotions. 5 minutes. The class will pair up and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will ask the class to share their definition of “inner conflict” in a literary work, referring to their notes or to a textbook definition if needed. The teacher will then display a definition of inner conflict on an overhead projector or the blackboard (see page 3 attached). Students will be asked to give examples of inner conflicts from works previously studied. 5 minutes. Procedure: 66 1. Reading Quiz on Act II of Macbeth (see page 4). 2. Teacher will provide an overview of the process of Socratic Circles and tell the class that we will be conducting one next class. She will ask the class to take notes of the process in either Cornell or Mind Mapping format. She will then ask one student from each type of note taking to quickly describe the process on the black board using their notes as a guide, and ask the class what they think the benefits of such a discussion might be. She will leave them with a handout of the overview for reference 15 minutes 3. Students will review their theme worksheets from Act II from class and homework, comparing their results with an elbow partner, and marking each theme area found as accurate or inaccurate for each other. Teacher will go through examples of all six areas of theme from the answer sheet, and collect the homework. 15 minutes 4. Students will be given a worksheet entitled “Similarities and Differences between the Temptation Scenes of Palatine and Lady Macbeth” (pages 6 & 7). They will watch the two brief scenes on DVD and complete the worksheets. They will then discuss their findings with an elbow partner and add any thoughts gained from this. Then there will be a class brainstorming of the top three differences and similarities 30 minutes 6. The first two scenes of Act III of Macbeth will be read aloud in class and the students will use the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur. They will be asked to read the rest of Act III as homework (in an annotated edition) and come to class ready to discuss the themes with three questions of their own for use in the Socratic Circle on the theme. “Poison in the Mind.” This quiet reading will be begun in class. 20 minutes Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side, and what is the process of doing it.” Additional Concept Related Activity: If there is extra time (unlikely) students will be asked to begin to map out questions about the temptation to go over to the dark side in their journals – what do they predict might happen in to Macbeth as a result and what are the benefits and downsides in his mind so far. 67 Slide 1 Literary “Inner Conflict” AKA Man versus Self: Internal conflict. Not all conflict involves other people. Sometimes people are their own worst enemies. An internal conflict is a good test of a character’s values. Does he give in to temptation or rise above it? Does he demand the most from himself or settle for something less? Does he even bother to struggle? The internal conflicts of a character and how they are resolved are good clues to the character’s inner strength. Often, more than one kind of conflict is taking place at the same time. In every case, however, the existence of conflict enhances the reader’s understanding of a character and creates the suspense and interest that make you want to continue reading.. Source: Orange Unified School District < http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm# CONFLICT> 68 READING QUIZ ON ACT II OF MACBETH Name_______________ Block____ Date_______ 11. What does Macbeth see hovering before him after he meets with Banquo? 12. Why does Lady Macbeth not murder Duncan herself as she had said she would? 13. What prayer word is Macbeth unable to say? 14. What does the voice in his head say Macbeth has murdered? 15. What new title does Macbeth receive? 16. Why is Lady Macbeth ashamed of her husband? 17. Why does the porter take so long to answer the door? 18. What are two of the three things that “drink especially provokes”? 19. Why do Malcolm and Donalbain run away to separate countries? 20. What is strange about Duncan’s horses? 69 INTRODUCTION TO SOCRATIC CIRCLES During a Socratic circle seminar, students sit in two concentric circles. The inner circle discusses a pre-assigned, pre-read text on which they have done enough work to have questions, ideas and viewpoints to bring to the table. The outer circle does not say a word during this discussion, but writes a written critique of the discussion, using a rubric, of the quality, manner and pervasiveness (what proportion of students are involved and how do they invite each others’ comments to flow) of this conversation. Each outer circle student is paired up with an inner circle student for observational purposes, and if there is a topic on which they have a burning desire to comment, they may pass a written request to that student to represent their idea to the group. But the outer circle’s primary focus is on the effectiveness and value of their colleagues’ discussion, rather than it’s content. When the inner circle has completed its discourse or the time has run out, the circles switch and on the same or on another text, the new inner circle starts a prepared discussion and the new outer circler will critique them. You will see from this description that it is extremely important that students in each inner circle come to the discussions prepared with a good close reading of the text, and with predeveloped questions and comments that can be used to stimulate the rest of your circle to think, critique and respond to your ideas. 70 Your ideas can come from any field, as long as they are relevant to an illumination of the text. For example a section of our play may remind you of a popular song, an interpersonal exchange of ideas or dialogue from your life, or even a TV show. These are valid viewpoints, as long as you show your colleagues what they mean to the text we are discussing, and constantly refer to it in support of your arguments. It is equally important that students in the outer circle are observant, diligent, focused and courteous in noting a range of aspects of the inner circle discussion. They must notice the flow of discussion; see who contributes, who does not, who wants to but perhaps is excluded, who is prepared and who is not. When they make suggestions for improving the quality of discourse they must focus on the objective aspects of the discussion, and not make discourteous, or discouraging personal remarks about the people conducting it. Remember, your turn will come to be critiqued and how effectively and constructively you comment on your peers is likely to determine how kind, useful and helpful their comments will be on your own contribution. Example of three good discussion questions from a reading of the first two acts of Macbeth: 1. Why do we think Macbeth is not satisfied with the honors Duncan heaps upon him and the promise of more to come? What does the text offer in terms of support for your answer? 2. How much do we think the decision to kill Duncan is actually driven by Lady Macbeth’s persuasion, and how does the text support your opinion on this? 3. What effect does Shakespeare intend the weird sisters to have on the play? What do you think they symbolize and in what way does the text support these views? Rubric for evaluating your colleagues’ contributions when you are in the outer circle: Student Observational Checklist Student Name_______________________________ Scale: Did he/she… 3 - yes 2 - somewhat 1- no ____Come to the seminar prepared? ____Show a willingness to answer the questions? ____Participate in the discussion? ____Respond to other students’ comments in a respectful manner? ____Listen attentively without interruption? ____Use eye contact while addressing the class? ____Give complex answers using a good rationale? ____Show a willingness to ask questions? ____Take a risk while discussing the question(s)? ____Make reference to the text during discussion? 71 Guiding Principles for Socratic Circles (Will be made into a poster and displayed prominently during discussion) Be prepared to participate – do the work! No need to raise hands Invite others into the discussion Refer to the text Comments must be appropriate/respectful/focused Listen to & build on one another’s comments 72 Name ___________________ Block_____ Date __________ SIMILARITIES AND DIFFERENCES PALATINE AND LADY MACBETH Concepts that are very similar in the approach BETWEEN THE Concepts that are quite different TEMPTATION SCENES OF What does this mean for the play and the process of going to the dark side 1. 1. 1. 2. 2. 2. 3. 3. 3. 4. 4. 4. 5. 5. 5. 6. 6. 6. 73 SCRIPT FROM STAR WARS PALPATINE TEMPTS ANAKIN ANAKIN brings news to PALPATINE. ANAKIN: Chancellor, we have just received a report from Master Kenobi. He has engaged General Grievous. PALPATINE: We can only hope that Master Kenobi is up to the challenge. ANAKIN: I should be there with him. PALPATINE: It is upsetting to me to see that the Council doesn't seem to fully appreciate your talents. Don't you wonder why they won't make you a Jedi Master? ANAKIN: I wish I knew. More and more I get the feeling that I am being excluded from the Council. I know there are things about the Force that they are not telling me. PALPATINE: They don't trust you, Anakin. They see your future. They know your power will be too strong to control. Anakin, you must break through the fog of lies the Jedi have created around you. Let me help you to know the subtleties of the Force. They walk into the hallway. ANAKIN: How do you know the ways of the Force? PALPATINE: My mentor taught me everything about the Force . . . even the nature of the dark side. They stop. ANAKIN: You know the dark side?!? PALPATINE: Anakin, if one is to understand the great mystery, one must study all its aspects, not just the dogmatic, narrow view of the Jedi. If you wish to become a complete and wise leader, you must embrace a larger view of the Force. Be careful of the Jedi, Anakin. (pausing) They fear you. In time they will destroy you. Let me train you. ANAKIN: I won't be a pawn in your political game. The Jedi are my family. PALPATINE: Only through me can you achieve a power greater than any Jedi. Learn to know the dark side of the Force, Anakin, and you will be able to save your wife from certain death. ANAKIN: What did you say? 74 PALPATINE: Use my knowledge, I beg you . . . ANAKIN: You're a Sith Lord! ANAKIN ignites his lightsaber. PALPATINE: I know what has been troubling you . . . Listen to me. Don't continue to be a pawn of the Jedi Council! Ever since I've known you, you've been searching for a life greater than that of an ordinary Jedi . . . a life of significance, of conscience. ANAKIN: You're wrong! PALPATINE: Are you going to kill me? ANAKIN: I would certainly like to. PALPATINE: I know you would. I can feel your anger. It gives you focus, makes you stronger. ANAKIN raises his lightsaber to PALPATINE's throat. There is a tense moment, then ANAKIN relaxes, and then turns off his lightsaber. ANAKIN: I am going to turn you over to the Jedi Council. PALPATINE: Of course you should. But you're not sure of their intentions, are you? What if I am right and they are plotting to take over the Republic? ANAKIN: I will quickly discover the truth of all this. PALPATINE: You have great wisdom, Anakin. Know the power of the dark side. The power to save Padme. ANAKIN stares at him for a moment. PALPATINE turns and moves to his office. PALPATINE: (continuing) I am not going anywhere. You have time to decide my fate. Perhaps you'll reconsider and help me rule the galaxy for the good of all . . . PALPATINE sits behind his desk. 75 ANAKIN GOES TO THE DARK SIDE PALPATINE: Master Windu. I take it General Grievous has been destroyed then. I must say, you're here sooner than expected. MACE WINDU: In the name of the Galactic Senate of the Republic, you are under arrest, Chancellor. MACE WINDU and the other JEDI ignite their lightsabers. PALPATINE: Are you threatening me, Master Jedi? MACE: The Senate will decide your fate. PALPATINE: (burst of anger) I am the Senate! MACE: Not yet! PALPATINE stands, a laser sword appears out of his cloak sleeve, and he spins toward the JEDI. PALPATINE: It's treason, then. A close shot of PALPATINE as the fight begins. Close shots of THREE JEDI getting cut down by PALPATINE. PALPATINE and MACE continue to fight. Jedi Master MACE WINDU and the Sith Lord fight their way down the hallway and into the main office area. PALPATINE is able to use the Force to slam MACE against the wall, but he recovers before the Chancellor can cut him down. ANAKIN lands his speeder, jumps out, and runs down a long corridor toward the Chancellor's office. In the heat of battle, MACE cuts the window behind the Chancellor's desk, and it crashes away. MACE is forced out onto the ledge, which is twenty stories up. They fight over the precipice. ANAKIN arrives to see PALPATINE and MACE fighting. They stop as MACE forces PALPATINE to drop his sword. PALPATINE and MACE start yelling at each other. MACE WINDU: You are under arrest, My Lord. PALPATINE: Anakin! I told you it would come to this. I was right. The Jedi are taking over. MACE WlNDU: You old fool. The oppression of the Sith will never return. Your plot to regain control of the Republic is over . . . you have lost . . . 76 PALPATINE: No! No! You will die! PALPATINE raises his hands, and lightning bolts shoot out. They are blocked by MACE's lightsaber. PALPATINE is pushed back against the window sill. PALPATINE: He is a traitor, Anakin. MACE WlNDU: He's the traitor. Stop him! PALPATINE: Come to your senses, boy. The Jedi are in revolt. They will betray you, just as they betrayed me. MACE WlNDU: Aarrrrggghhhhh . . . PALPATINE: You are not one of them, Anakin. Don't let him kill me. MACE WlNDU: Aarrrrggghhhhh . . . PALPATINE: I am your pathway to power. I have the power to save the one you love. You must choose. You must stop him. MACE WlNDU: Don't listen to him, Anakin. PALPATINE: Help me! Don't let him kill me. I can't hold on any longer. Ahhhhhhh . . . ahhhhhhh . . . ahhhhhhh . . . MACE pushes PALPATINE out to the edge of the ledge. As the Jedi moves closer, the bolts from Palpatine's hands begin to arch back on him. The Chancellor's face begins to twist and distort. His eyes become yellow as he struggles to intensify his powers. PALPATINE: I can't ... I give up. Help me. I am weak ... I am too weak. Don't kill me. I give up. I'm dying. I can't hold on any longer. MACE WlNDU: You Sith disease. I am going to end this once and for all. ANAKIN: You can't kill him, Master. He must stand trial. MACE WlNDU: He has too much control of the Senate and the Courts. He is too dangerous to be kept alive. PALPATINE: I'm too weak. Don't kill me. Please. ANAKIN: It is not the Jedi way . . . MACE raises his sword to kill the CHANCELLOR. 77 ANAKIN: (continuing) He must live . . . PALPATINE: Please don't, please don't . . . ANAKIN: I need him . . . PALPATINE: Please don't . . . ANAKIN: NO!!! Just as MACE is about to slash PALPATINE, ANAKIN steps in and cuts off the Jedi's hand holding the lightsaber. As MACE stares at ANAKIN in shock, PALPATINE springs to life. The full force of Palpatine's powerful Bolts blasts MACE. He attempts to deflect them with his one good hand, but the force is too great. As blue rays engulf his body, he is flung out the window and falls twenty stories to his death. No more screams. No more moans. PALPATINE lowers his arm. PALPATINE: Power! Unlimited power! His face has changed into a horrible mask of evil. ANAKIN looks on in horror. PALPATINE cackles. ANAKIN: What have I done? ANAKIN sits. PALPATINE: You are fulfilling your destiny, Anakin. Become my apprentice. Learn to use the dark side of the Force. ANAKIN: I will do whatever you ask. PALPATINE: Good. ANAKIN: Just help me save Padme's life. I can't live without her. I won't let her die. I want the power to stop death. PALPATINE: To cheat death is a power only one has achieved, but if we work together, I know we can discover the secret. ANAKIN kneels before PALPATINE. ANAKIN: I pledge myself to your teachings. To the ways of the Sith. PALPATINE: Good. Good. The Force is strong with you. A powerful Sith you will become. Henceforth, you shall be known as Darth . . . Vader. 78 ANAKIN: Thank you. my Master. PALPATINE: Rise, Darth Vader. Palpatine moves over to his desk. 129 EXT. KASHYYYK-MEETING HALL-DAY YODA winces, closes his eyes, and holds his head. He feels a disturbance in the Force. DARTH SIDIOUS (PALPATINE) DEMANDS ANAKIN KILL ALL THE JEDI 130 INT. CORUSCANT-CHANCELLOR'S OFFICE-EVENING PALPATINE is putting on his dark cloak: he is now fully DARTH SIDIOUS. PALPATINE: Because the Council did not trust you, my young apprentice, I believe you are the only Jedi with no knowledge of this plot. When the Jedi learn what has transpired here, they will kill us, along with all the Senators. ANAKIN: I agree. The Jedi's next move will be against the Senate. PALPATINE: Every single Jedi, including your friend Obi-Wan Kenobi, is now an enemy of the Republic. You understand that, don't you? ANAKIN: I understand, Master. PALPATINE: We must move quickly. The Jedi are relentless; if they are not all destroyed, it will be civil war without end. First, I want you to go to the Jedi Temple. We will catch them off balance. Do what must be done, Lord Vader. Do not hesitate. Show no mercy. Only then will you be strong enough with the dark side to save Padme. ANAKIN: What about the other Jedi spread across the galaxy? PALPATINE: Their betrayal will be dealt with. After you have killed all the Jedi in the Temple, go to the Mustafar system. Wipe out Viceroy Gunray and the other Separatist leaders. Once more, the Sith will rule the galaxy, and we shall have peace. 79 SCRIPT FROM MACBETH LADY MACBETH He has almost supp'd: why have you left the chamber? MACBETH Hath he ask'd for me? LADY MACBETH Know you not he has? MACBETH We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. LADY MACBETH Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting 'I dare not' wait upon 'I would,' Like the poor cat i' the adage? MACBETH Prithee, peace: I dare do all that may become a man; Who dares do more is none. LADY MACBETH What beast was't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know 80 How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. MACBETH If we should fail? LADY MACBETH We fail! But screw your courage to the sticking-place, And we'll not fail. When Duncan is asleep-Whereto the rather shall his day's hard journey Soundly invite him--his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only: when in swinish sleep Their drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell? MACBETH Bring forth men-children only; For thy undaunted mettle should compose Nothing but males. Will it not be received, When we have mark'd with blood those sleepy two Of his own chamber and used their very daggers, That they have done't? LADY MACBETH Who dares receive it other, As we shall make our griefs and clamour roar Upon his death? MACBETH I am settled, and bend up Each corporal agent to this terrible feat. Away, and mock the time with fairest show: False face must hide what the false heart doth know. 81 FINDING THE THEMES AND MOTIFS IN MACBETH – ACT III Name_________ Block_____ Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find: 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain of being (especially the body or office of an anointed King) 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. THEMES THROUGH THE PLAY OF MACBETH Description of event Unnatural as Supernatural Bestial, AntiNatural Crime against Great Chain Appearance vs. Reality as Hiding intent or deed Regret at deeds (real & apparent) Real values vs perceived desires Quotation Act – Scene – Line# Ref. 82 THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT III Unnatural as Description of event & why it represents the theme Quotation Act – Scene – Line# Ref. Supernatural 3. Macbeth on his plan to kill Banquo 4. Macbeth seeing the ghost of Banquo 5. Expressing his fear of Banquo’s ghost to Lady Macbeth 6. Hecate on damning Macbeth through the black arts 7. Lennox praying for release 3. ere to black Hecate’s summons . . . peel 4. Ay and a bold one that dare look on that which might appal the devil 5. It will have blood . . the secret’st man of blood 6. such artificial sprites . . . shall draw him on to his confusion 7. Some holy angel . . .hand accursed Act 3 Sc 2 46-49 Act 3 Scene 4 Lines 70-71 Act 3 Scene 4 Lines 146-50 Act 3 Scene 5 Lines 28-30 Act 3 Sc 6 51-55 Bestial, AntiNatural 6. To Lady Macbeth on his fear of Banquo & the prediction 7. Invocation referring to the plan to kill Banquo 8. To murdered on Fleance’s escape referring to them as snakes 9. As he sees the ghost of Banquo 10. Referring to the ghost’s return to haunt him at the feast as strange 6. We have scotched the snake not killed it . . . her former tooth 7. Come seeling night. . . black agents to their preys do rouse 8. There the grown serpent . . .no teeth for the present 9. If charnel-houses . . .the maws of kites 10. but now they rise again. . .this is more strange than such a murder is Act 3 Scene 2 Lines 17-19 Act 3 Scene 2 Lines 53-60 Act 3 Scene 4 Lines 34-36 Act 3 Sc 4 85-86 Act 3 Scene 4 Lines 95-98 Crime against the King & Great Chain 3. Macbeth is afraid of Banquo’s ‘royal’ nature –his claim to the throne and that of his ‘line.’ 4. To Lady Macbeth on the fear his action & prediction have brought 3. Our fears in Banquo . . . .seed of Banquo kings! Act 3 Scene 1 Lines 53-74 4. Let the frame of things disjoint, both the worlds suffer Act 3 Scene 2 Lines 19-20 83 Appearance vs. Reality as Hiding intent or deed 3. Macbeth tells the murderers he cannot openly kill Banquo 4. Lady Macbeth tells Macbeth to put a ‘sleek’ face in things 5. Macbeth hides his plan to murder Banquo even from lady Macbeth 3. though I could . . .from the common eye 4. Gentle my lord, sleek o’er your rugged looks . . . guests tonight 5. Let your remembrance . . . .disguising what they are Act 3 Scene 1 Lines 130-37 Act 3 Scene 2 Lines 32-33 Act 3 Scene 2 Lines 35-40 Regret at what he has done (apparent & real) 5. Envying Duncan the peace of death 6. Macbeth re his intent to murder Banquo 5. Duncan is . . . . can touch him further 6. O full of scorpions is my mind dear wife! Act 3 Sc 2 26-30 Act 3 Scene 2 Lines 43-44 Real values vs perceived desires 2. Lady Macbeth speech on the ‘doubtful joy’ of their new reign 3. Macbeth describing their fears 4. To lady Macbeth on his point of no return and his determination to continue 2. Nought’s had, all’s spent . . .doubtful joy 3. Ere we will eat . . .restless ecstasy 4. For mine own good . . . .returning were as tedious as go o’er. . . we are but young in deed Act 3 Scene 2 Lines 7-10 Act 3 Sc 3 21-26 Act 3 Scene 4 Lines 160-63 Lines 167-69 Schuyler 84 Lesson Plan – Macbeth 4 Pre-service Teacher Mandy Schuyler Cooperating Teacher___________________ School / Grade McDowell Grade 12 Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Study of Macbeth Acts III and IV through the inquiry: “What makes a person go over to the dark side?” and through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives Assessments 1. Students will be introduced to the concept of assessment and trained on the process 1. The Socratic circle discussion and assessment 2. Students will understand the role of history in shaping the plot and themes of a play 6. Same topic jigsaw performance and writeups 2. Students will identify instances of the themes in Acts III and IV of Macbeth 7. Accurate identification of specific instances of the themes of ‘unnaturalness’ and ‘reality vs appearance in the 3rd & 4th acts of the play 3. Students will practice discussing literature using the Socratic method and assessing the quality of their own/each other’s comments Materials: 8. Socratic circle discussion and mutual assessment worksheets Macbeth by William Shakespeare Assessment overhead Bellringer poster or blackboard display Themes Act IV Worksheet Socratic Circles overview (again) Socratic Circles rubric sheets Same topic jigsaw articles on the history behind Macbeth Anticipatory Set Bellringer: What roles do you think history (current events of the time) might play in shaping the plot, characters or themes of a dramatic work for performance or a movie. Give two examples 5 minutes. The class will pair and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will review the Socratic circles objectives and procedures (see page 3 & 4 attached). Students will be asked to give examples of the benefits they might gain from these skills in life and school, (open discussion) and to share their three questions with a partner, making any changes they now think would work better. 5 minutes. Schuyler 85 Procedure: 1. Reading Quiz on Act III of Macbeth (see page 4). 5 minutes 2. Teacher will provide an overview of the process of assessment that students will use in the Socratic Circle and provide a rubric for and demonstration of assessment and constructive criticism and post the guiding principles in a prominent place. 15 minutes 2. Students will review their theme worksheets from Act III from class and homework, very quickly comparing their results with an elbow partner, and marking each theme area found as accurate or inaccurate for each other. 5 minutes 4. Students will be given one of four views of the history which might have influenced Macbeth. They will go into groups of four, and then move to expert groups to do a summary to the key items in their view of the history. Then they will return to their original groups and present the summary to the group each in turn. The groups will each create their own summary of the most important shaping factors in their view. These will be collected by the teacher and the best ones will be typed as a handout for everyone in the next class. 20 minutes 5. A Socratic circle will be conducted on the theme of “Poison in the Mind” using student created questions and comments derived from the earlier homework discussion and their own thinking. Students in the inner circle will discuss for 3-5 minutes with teacher assistance if things stall, and the outer circle will use the rubric provided to assess the quality of preparation and discussion of their partner. The circles will then switch and repeat the process. 1. Students will be asked to read Act IV (the shortest act) as homework (in an annotated edition) and come to class ready to discuss the themes. This quiet reading may be begun in class if there is any time, but since they are now used to the process and aware that their work will be used next class, and since this is a very full lesson, they may be do this for homework this time. Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side, and what is the process of doing it.” 5 minutes Additional Concept Related Activity: See 5 above on homework. Schuyler 86 Slide 1 Purpose of Socratic Circles 1. Improved uunnddeerrssttaannddiinngg of literature and human thought 2. Improved vvooccaabbuullaarryy through looking up words in independent reading and preparation for the circle 3. Improved lliisstteenniinngg by focusing on other’s contributions, in order to assess, understand and be able to respond 4. Improved ssppeeaakkiinngg by considered contributions to a dialogue using prepared ideas, comments, questions and the thoughts heard from others 5. Improved ccrriittiiccaall tthhiinnkkiinngg through understanding and analyzing the text and each other’s comments 6. Improved w woorrkkiinngg ttooggeetthheerr to construct meaning, solve problems and explore life connections Schuyler 87 Slide 2 Operation of Socratic Circles Each student comes pprreeppaarreedd with reading, thinking & questions about a text Students form ttw woo eeqquuaall ccoonncceennttrriicc cciirrcclleess, one inside the other, and each student from the inner circle is partnered with one from the outer All students obey the rruulleess ooff S Sooccrraattiicc CCiirrcclleess while discussing and the rruulleess ooff aasssseessssm meenntt while assessing their partner The students in the inner circle ddiissccuussss the text, using prepared ideas, comments and questions, carefully listening to all comments, responding and building on them The students in the outer circle ccoonnssttrruuccttiivveellyy aasssseessss the debate of the students in the inner circle, focusing on the quality of the discussion, the inclusion of all students and the nature of the responses and AVOIDING PERSONAL REMARKS The circles ssw wiittcchh: assessors now discuss, discussors now Schuyler 88 assess. Schuyler 89 Slide 2 How to Assess PPaayy A Atttteennttiioonn to your partner, with the key areas in mind T Taakkee ddeettaaiilleedd nnootteess, of everything he/she does well as well as things that could be done better and HOW R Raattee yyoouurr ppaarrttnneerr on each area from 1-5 1. O Ouuttssttaannddiinngg: there is nothing I can imagine that this person could do to improve this aspect of discussion 2. V Veerryy ggoooodd: there may be one or two minor suggestions but the student really has a good approach to it 3. O OKK: there are several things we can improve here, but altogether, this isn’t a bad contribution 4. PPoooorr: this aspect seemed to get little effort or focus, or to be rather misunderstood 5. A Aw wffuull: this aspect got absolutely no effort or attention, or was completely misunderstood. T Teellll your partner what you found, ggoooodd and aarreeaass ffoorr iim mpprroovveem meenntt; focus on the actions & your observations, aiming to help them do better next time and AVOIDING PERSONAL REMARKS (it’ll be your turn soon. . .) H Haanndd iinn: your assessment to the teacher – she will use it to help both the discussor and the assessor. Schuyler 90 ASSESSMENT EXAMPLES In order to help students be fair to one another and to rate their peers on a fairly equal basis, we need to agree on what an outstanding, very good, OK, poor and awful contribution looks like. After a while, you’ll be able to tell pretty much at a glance. For starters, the definitions below should help you fill in your assessments. Remember, you need detailed notes of reasons why you are rating your partner this way as well as suggestions on how to do things better! SOCRATIC CIRCLE ASSESSMENT RUBRIC 1.Outstanding 2. Very Good 3. OK 4. Poor 5. Awful (There is nothing I can imagine that this person could do to improve this aspect of discussion) (There may be one or two minor suggestions but the student really has a good approach to it) (There are several things we can improve here, but altogether, this isn’t a bad contribution) (This aspect seemed to get little effort or focus, or to be rather misunderstood) (This aspect got absolutely no effort or attention, or was completely misunderstood) PREPAREDNESS: The extent to which the student has read the text, thought it through as literature and as a source of ideas for human experience and current living, and brought interesting questions, comments and ideas to the discussion Shows detailed knowledge of the text, and brings insightful and original ideas, comments and questions in comparison to life and other texts Shows a fair knowledge of the text, and brings a number of ideas, comments and questions in comparison to life and other texts Shows some knowledge of the text, and brings a few ideas, comments and questions about it Has an extremely sketchy idea of the text and only one or two comments or questions which have any relevance to it Does not appear to have read the text and has no idea what to ask or say as a result PARTICIPATION: The extent to which the student takes part in the discussion as a listener and a speaker and contributes to the overall experience for everyone Makes comments, asks questions and expresses ideas regularly; responds to peers when appropriate, completely focused on the circle discussion Makes comments, asks questions and expresses ideas sometimes; may respond to peers, mostly focused on the circle discussion, rare distractions Makes some comments, and/or asks questions and/or expresses some ideas; Occasionally responds to peers; sometimes a bit distracted Rarely makes comments, asks questions or expresses ideas doesn’t responds to peers, much more distracted than not Hardly participates at all. Seems to be somewhere else almost all of the time Schuyler 91 RESPECTFULNESS: The extent to which the student honors the presence, thoughts and contributions of others Is unfailingly courteous, clearly values the thoughts of others as well as his or her own, quiet when others speak, polite and a pleasure to have in the circle for everyone Is usually courteous, values the thoughts of others, mostly quiet when others speak, and polite, a pleasure to have in the circle most of the time Occasionally seems a little discourteous, or dismissive but on the whole a good member of the circle Sometime rude or offensive, does not take turns well, does not seem to value others’ contributions at all, little interest or courtesy Often rude or offensive, has no use for others’ ideas, a real liability to the success of the circle often GOOD LISTENING/NO INTERRUPTIONS The extent to which the student really hears the contributions of others and makes it clear that they are paying detailed attention Attention is visibly riveted on each speaker, and contributions take into account what was said before, not just immediately prior but throughout the discussion. Occasional polite clarification question and agreement noises or gestures allow others to see they are heard Attention paid to each speaker, and contributions take some account of what was said before, sometimes earlier in the discussion. Some demonstration that others are heard. Very rare interruptions and always with relevance Attention mostly on the speaker, usually shows that the prior discussion was heard. Occasionally interrupts but with relevant utterances Frequently ignores the comments of others. Often pays little attention to the speaker; hard to tell if the comments of others were heard or understood. Interrupts sometimes with no constructive reason. Apparently neither hears nor cares about others comments. Interrupts often EYE CONTACT AND VISUAL ATTENTIVENESS Extent of eye contact, visible, attentiveness Looks the person speaking in the eyes and makes eye contact with others when speaking themselves – clearly in the moment Usually makes eye contact with speaker and listeners, gaze wanders occasionally, but seems present Makes eye contact sometimes, has the odd appearance of absent mindedness, but fairly connected to events Only rare eye contact; looks as if their mind is elsewhere a lot, stares at the floor, window, walls etc quite regularly Almost never connects gaze with others, does not seem to be present Schuyler 92 COMPLEX ANSWERS AND IDEAS The extent to which the student creates thorough, patterned contributions which have clearly been given high quality thinking & taken to their logical conclusions Complete, rational arguments presented in which many avenues of thought have been explored Good arguments, in which a number of branches of thinking are evident Straightforward arguments with some complexity sometimes, also some rather superficial ones creep in occasionally One word answers on a frequent basis, single thread of thinking, no anticipation of objections of other views Hardly answers enough to know if any thought is happening, only one word answers if any GOOD REASONING AND SUPPORT The extent to which the student provides logical, coherent arguments with reasons for why they are tenable and worthwhile Always uses sensible deductive or inductive reasoning, fully supported with evidence Normally has solid reasoning with at least some evidence or logic to reinforce it Occasional unsupported speculation or specious reasoning, but well argued most of the time Mostly irrational speculation or emotionally driven responses with little solid evidence or logic Almost exclusively emotional or speculative lines of thought, virtually no evidence GOOD QUESTIONS Extent to which student constructs clear, insightful questions which lead the group to understanding and extended inquiry through new avenues of exploration Always uses creative, discerning lines of questioning which open up new lines of thinking and comparison Mostly constructs shrewd questions which lead to good understanding and new ideas Some questions are closed and superficial, but a good portion are interesting and open new lines of thinking Few useful questions, most of them are factual or emotionally grounded Few or no questions which generate new thinking WILLING TO TAKE RISKS Extend to which student is willing to risk embarrassment or loss of face in a creative and daring quest for new insights Open to any & all ideas; explores difficult subjects and controversial positions readily Mostly open to new ideas and difficult areas, retreats to some ‘safe’ subjects Somewhat willing to risk tough territory, plays it safe part of the time Rarely moves out of the comfort zone. Stays on safe ground most of the time Completely unwilling to broach anything not a safe bet for a topic REFERENCE TO THE TEXT Extent to which student refers to the text. Refers constantly to the text – all ideas relate back Mostly links ideas back to the text at some point Has a connection to text at least half the time Rarely refers accurately to text, wanders No reference to the text that makes sense Schuyler 93 READING QUIZ ON ACT III OF MACBETH Name_______________ Block____ Date______ 21. Are Macbeth and his lady happy now that he is King? 22. Why or why not? 23. Who is missing from Macbeth’s feast? 24. Why is he missing? 25. What does Lady Macbeth tell her guests about Macbeth’s odd behavior? 26. What does lady Macbeth tell her husband he needs at the end of the feast? 27. Why is Hecate angry with the 3 witches? 28. What does Lennox think of Macbeth 29. Where is the son of Duncan now (Malcolm)? 30. What has Macduff gone to ask the King of England to do? Schuyler 94 INTRODUCTION TO SOCRATIC CIRCLES (HAND OUT FOR ANY WHO HAVE LOST IT) During a Socratic circle seminar, students sit in two concentric circles. The inner circle discusses a pre-assigned, pre-read text on which they have done enough work to have questions, ideas and viewpoints to bring to the table. The outer circle does not say a word during this discussion, but writes a written critique of the discussion, using a rubric, of the quality, manner and pervasiveness (what proportion of students are involved and how do they invite each others’ comments to flow) of this conversation. Each outer circle student is paired up with an inner circle student for observational purposes, and if there is a topic on which they have a burning desire to comment, they may pass a written request to that student to represent their idea to the group. But the outer circle’s primary focus is on the effectiveness and value of their colleagues’ discussion, rather than it’s content. When the inner circle has completed its discourse or the time has run out, the circles switch and on the same or on another text, the new inner circle starts a prepared discussion and the new outer circler will critique them. You will see from this description that it is extremely important that students in each inner circle come to the discussions prepared with a good close reading of the text, and with predeveloped questions and comments that can be used to stimulate the rest of your circle to think, critique and respond to your ideas. Schuyler 95 Your ideas can come from any field, as long as they are relevant to an illumination of the text. For example a section of our play may remind you of a popular song, an interpersonal exchange of ideas or dialogue from your life, or even a TV show. These are valid viewpoints, as long as you show your colleagues what they mean to the text we are discussing, and constantly refer to it in support of your arguments. It is equally important that students in the outer circle are observant, diligent, focused and courteous in noting a range of aspects of the inner circle discussion. They must notice the flow of discussion; see who contributes, who does not, who wants to but perhaps is excluded, who is prepared and who is not. When they make suggestions for improving the quality of discourse they must focus on the objective aspects of the discussion, and not make discourteous, or discouraging personal remarks about the people conducting it. Remember, your turn will come to be critiqued and how effectively and constructively you comment on your peers is likely to determine how kind, useful and helpful their comments will be on your own contribution. Example of three good discussion questions from a reading of the first two acts of Macbeth: 4. Why do we think Macbeth is not satisfied with the honors Duncan heaps upon him and the promise of more to come? What does the text offer in terms of support for your answer? 5. How much do we think the decision to kill Duncan is actually driven by Lady Macbeth’s persuasion, and how does the text support your opinion on this? 6. What effect does Shakespeare intend the weird sisters to have on the play? What do you think they symbolize and in what way does the text support these views? Rubric for evaluating your colleagues’ contributions when you are in the outer circle: Student Observational Checklist Student Name_______________________________ Scale: Did he/she… 3 - yes 2 - somewhat 1- no ____Come to the seminar prepared? ____Show a willingness to answer the questions? ____Participate in the discussion? ____Respond to other students’ comments in a respectful manner? ____Listen attentively without interruption? ____Use eye contact while addressing the class? ____Give complex answers using a good rationale? ____Show a willingness to ask questions? ____Take a risk while discussing the question(s)? ____Make reference to the text during discussion? Schuyler 96 Guiding Principles for Socratic Circles (Will be made into a poster and displayed prominently during discussion) Be prepared to participate – do the work! No need to raise hands Invite others into the discussion Refer to the text Comments must be appropriate/respectful/focused Listen to & build on one another’s comments Schuyler 97 Guiding Principles for Assessment (Will be made into a poster and displayed prominently during discussion) Be honest – but kind! Critique the action/word, not the person Focus 100% on helping people get better at discussion and understanding Key areas of assessment Preparedness Participation Respectfulness Good listening/no interruptions Eye contact & attentiveness Complex answers & ideas Good reasoning & support Good questions Willing to take risks References to the text Schuyler 98 FIRST VIEW OF THE HISTORY LEADING TO MACBETH: LINE OF SCOTTISH KINGS Lineage Macbeth was the king's given name, rather than a 'son of' family name. It derives from the Gaelic mac beatha meaning 'son of life'. His lineage can be traced back through three and a half centuries to the Cenel Loairn (clan of Loarn) of Dalraida. Their descendants reappear in the late tenth century as an hereditary dynasty of mormaers (an equivalent of the English earl or thane) of Moray. The mormaers had the status of subject kings under the high-kings of the Scots and Picts. Before his reign Macbeth was born in 1005, his father was Findlaech mac Ruadri, mormar of Moray. At this time, Moray was in the grip of a virtual civil war between those loyal to one or other branch of the Cenel Loairn. Findlaech mac Ruadri was a casualty of this conflict, being killed by his nephews, Malcolm and Gillacomgain mac Maelbrigte in 1020. These two succeeded to the mormaership in turn. Macbeth sought refuge at the court of his grandfather, Malcolm II. However, by 1031, Macbeth was acting in the capacity of mormaer of Moray at the 'conference of kings' between King Malcolm of Scotland (Macbeth's grandfather) and Cnut, the Danish king of England. This conference took place a year before the violent death of Gillacomgain, who was still listed as 'mormaer of Moray' in his obituary in the Annals of Ulster. It is known that Malcolm II (who was by now an ageing king) was keen to eliminate potential rival claimants to the succession, so it may be that he appointed Macbeth as mormaer of Moray in opposition to Gillacomgain as a political manoeuvre. In any case, in 1032 Gillacomgain was dead, 'burned, and fifty of his men with him' (Annals of Ulster). Suspicion therefore falls on both Macbeth and Malcolm as being involved in Gillacomgain's death. Malcolm died in 1034, and Duncan, his tanaise (another of his grandsons) succeeded to the throne. He was already King of Strathclyde, so with his succession, this ceased to be an independent entity (give them back their freedom!). By the time Shakespeare wrote his play, the institution of monarchy had become endowed with religious significance, to preserve political stability. Opposition to a monarch was therefore a crime against God as well as against man. In any case, Duncan was not the wise and gentle old man depicted by the Bard. He held his throne for only six years, getting involved in the treacherous Anglo-Norse politics of Northumbria and hence presiding over various unsuccessful campaigns in England. Both the Annals of Tigernach and the Annals of Ulster record Duncan's death in 1040 and identify Macbeth as the man who brought him down and succeeded him. It appears that Duncan was not much older than Macbeth, the Tigernach describes him as being 'slain by his subjects at an unripe age.' This description does not tally with Shakespeare's description of knife-wielding assassins stabbing an aged king to death in his bed. More likely the men of Moray became disillusioned with an ineffectual king and rallied behind Macbeth, rejecting Duncan's authority. When Duncan ventured forth to assert his sovereignty, he was killed in battle near Elgin. Schuyler 99 THE LINEAGE OF MACBETH AND DUNCAN Malcolm I King of Scots (KOS) Dubh Kenneth II (KOS) Kenneth III (KOS) Malcolm II (KOS) Gillcomgain Girig m. Beodhe Gillacomgain Gruoch Dovada Bethoc m. Finlaech M. Grimus Macbeth Duncan I KOS) Wife of Macbeth GAELIC KING SELECTION BY MEANS OF TANISTRY Tanistry incorporated some elements of both Irish and Pictish tradition. Originally, a Gaelic king would be elected from a wide circle of anyone whose great grandfather had been a king. The heir apparent was called the "tanist". Under Pictish influence, this system resolved into a rotation between the two main branches of the royal house. This led to a lot of rivalry and violence between the houses. As the idea of direct hereditary descent became current, kings would seek to annihilate claimants of the rival house to ensure succession by their sons and grandsons. Macbeth is the great historical example. Malcolm II had no sons and wanted to secure the kingdom to his grandson, Duncan. So, he killed his predecessor's grandson Gillacomgain (of the rival house). However, Macbeth was stepfather of the murdered man's heir and fought for and gained the throne on that basis. Schuyler 100 SECOND VIEW OF THE HISTORY: JAMES I & THE DIVINE RIGHT OF KINGS SHAKESPEARE WANTED TO PLEASE JAMES. Source: Roanake College Website In the summer of 1606, Shakespeare sat contented as King James I, rapt with awe, watched Macbeth. Shakespeare had wanted such a reaction from the King who used to fall asleep during plays. His purpose for writing Macbeth was to honor his new King from Scotland. The legend of Macbeth and his deeds was told to James constantly during his childhood because he had a direct claim to the story. He was one of Banquo's foretold descendants to sit on the throne of Scotland. Many of the events that occur in the play have a direct correlation to James. The fact that this play deals with treachery and deceit is due to the constant attempts to assassinate James. One reason Macbeth might start out as the Thane of Glamis is because James was once held hostage by this very thane. The thane's wife was a reported witch whose meddling caused the delay of James’ marriage. Another conspiracy was by one of his favorites, Lennox. Lennox used and manipulated the king to fill his own pockets. WRITINGS OF JAMES I AND IV The state of monarchy is the supremest thing upon earth; for kings are not only God's lieutenants upon earth, and sit upon God's throne, but even by God himself are called gods. There be three principal similitudes that illustrate the state of monarchy: one taken out of the word of God; and the two other out of the grounds of policy and philosophy. In the Scriptures kings are called gods, and so their power after a certain relation compared to the divine power. Kings are also compared to fathers of families: for a king is truly Parens patriae, the politique father of his people. And lastly, kings are compared to the head of this microcosm of the body of man. Kings are justly called gods, for that they exercise a manner or resemblance of divine power upon earth: for if you will consider the attributes to God, you shall see how they agree in the person of a king. God hath power to create or destrov make or unmake at his pleasure, to give life or send death, to judge all and to be judged nor accountable to none; to raise low things and to make high things low at his pleasure, and to God are both souls and body due. And the like power have kings: they make and unmake their subjects, thev have power of raising and casting down, of life and of death, judges over all their subjects and in all causes and yet accountable to none but God only. . . . From King James I, Works, (1609). Schuyler 101 THIRD VIEW OF THE HISTORY – THE GUNPOWDER PLOT Sources: Roanake College and PBS Websites In 1603, James became the King of England. He had many enemies and there were plots to kill him at every turn. The most famous of these was the Gunpowder plot which had its roots in the religious tumults and intolerance of the time. James was a Protestant. When he was first crowned, the Catholics thought James would be tolerant because his mother, Mary Queen of Scots, was Catholic. Their expectations were short lived. He once said of the Catholics that he was so far from favoring their superstitious religion that if he thought his son would tolerate it after his death, he would have him buried before his eyes. As a result of this speech and others like it, the Catholics devised the Gunpowder plot. The plot seems to have formed in the mind of Thomas Percy who in 1603 told his friend Robert Latesby that he planned to kill the King. This sparked a plan in Latesby's mind. He told four men of his plan in May of 1604. This small but infamous group that would go down in history was made up of Latesby’s cousin, Thomas Winter, his friend, John Wright, Percy, and the notorious Guy Fawkes, who is still burned in effigy in England on November 5th each year. The plan was to put gunpowder barrels under Parliament House. When the King opened the House on November 5th, the gunpowder would explode. It would kill not only the King, but the Queen, Prince Henry, bishops, and nobles. They began to work in May of 1604 by renting a house next to the Parliament building and digging a tunnel directly under the House of Lords. This proved to be tedious and time consuming. Later they discovered that the house next to theirs had a cellar that ran directly under the Parliament. They bought it and tore the wall that adjoined the two foundations down. Fawkes carried 20 barrels of gun powder into the cellar and was never caught. The amount of people involved tripled. One conspirator, afraid for his brother-in-law, betrayed the plot. The conspirator wrote a letter informing his brother-in-law of the explosion. The night before the event was to take place there was a search of the property. The King's men found the barrels and tortured the conspirators they caught. All the Catholic conspirators, Catesby, Tresham and Winter had connections to Warwickshire where Shakespeare was born and raised his family, and they were rumored to have frequented his local tavern in Stratford. Catesby died fighting, while the other conspirators were hunted down, arrested, tried and executed. Schuyler 102 FOURTH VIEW OF THE HISTORY – WITCHCRAFT AND THE SUPERNATURAL King James took a special interest in the witchcraft. In 1597 he published a book that he had written on the subject of witchcraft, his Daemonologie. In this work, James put the traditional arguments in favor of a belief in witchcraft, and his lifelong interest in the subject is evidenced by the fact that he himself participated in a number of trials of alleged witches. The belief in the existence and power of witches was widely believed in Shakespeare's day, as demonstrated by the European witch craze, during which an estimated nine million women were put to death for being perceived as witches (The Burning Times). The practice of witchcraft was seen to subvert the established order of religion and society, and hence was not tolerated. Witch hunting was a respectable, moral, and highly intellectual pursuit through much of the fifteenth, sixteenth, and seventeenth centuries (Best ). The belief of the majority during the seventeenth century suggests that the witches are powerful figures who can exercise great power over Macbeth; however, strong arguments to the contrary were in existence at the same time. The intensity of the tragedy is dependent on whether the witches are perceived to be able to control the otherwise innocent Macbeth's actions, or if he is entirely responsible for his own demise. . . Firstly, it was widely believed in Europe for centuries that sorcery could cause impotence. In the preface of Daemonologie, King James I asserts the power of witches to weaken "the nature of some men, to make them unavailable for women" (qtd. in Best). A major textbook for witch hunters, Malleus Maleficarum, describes how witches are able to make men impotent, or even make their penises disappear (qtd. in Best). . . . . The audience's beliefs of whether or not the witches actually have power over Macbeth influence their interpretation of whether his actions result from personal choice or from external influence. Macbeth retains a heroic aura as long as he either is able to use his free will and personal choice to resist the witches' influence, or if he is believed to be powerless against the external evil influences of his wife and the witches. Thomas Cooper writes in his 1617 work The Mysterie of Witchcraft, "Satan cannot preuaile effectually vpon any to their condemnation, vnless with full confent they yeelde themfelues wholy to his fubjection" (Cooper 360). According to this, Macbeth should be able to resist temptation by not giving his consent. Initially Macbeth listens to the witches, "rapt" (I.3.142), but he is able to retain the ability to act as a morally responsible person and control his ambition. After considering that he could commit murder to achieve what the witches propose, he stifles the idea, saying, "If chance will have me king, why, chance may crown me/ Without my stir" (1.3.143-44). However, in the second act, he no longer attempts to stifle his conscience, but instead seems to accept the murder as an inevitable act beyond his control, saying, "I go, and it is done: the bell invites me" (2.1.70). . . For most of Shakespeare's contemporary audience, Macbeth would appear to be at the mercy of the witches and therefore not entirely responsible for his actions. In my opinion, it is easier to muster sympathy for a person who is not entirely to blame for their actions; in the case of Macbeth, the tragedy is more successful if the popular seventeenth century mentality is adopted and thereby the witches and Lady Macbeth are made partly to blame for his downfall. Source: Jennifer Reidel “The Witches' Influence on Macbeth” University of Victoria 103 FINDING THE THEMES AND MOTIFS IN MACBETH – ACT IV Name_________ Block_____ Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find: 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain of being (especially the body or office of an anointed King) 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. THEMES THROUGH THE PLAY OF MACBETH Description of event Unnatural as Supernatural Bestial, AntiNatural Crime against Great Chain Appearance vs. Reality as Hiding intent or deed Regret at deeds (real & apparent) Real values vs perceived desires Quotation Act – Scene – Line# Ref. 104 THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT IV Unnatural as Description of event & why it represents the theme Quotation Act – Scene – Line# Ref. 8. Macbeth visits the witches to get more information on the future 9. Foreshadowing of his own doom for trusting the witches 8. The whole first act with apparitions, and predictions 9. Infected be the air on which they ride and damned all that trust them Act 4 Scene 1 Bestial, AntiNatural 11. Lady Macduff on her husband’s running away 11. He wants the natural touch . . .against the owl Act 4 Scene 2 Lines 12-14 Crime against the King & Great Chain 5. Evidence of the divine appointment of kings – here the king of England 5. ‘Tis called the evil. . .the healing benediction Act 4 Scene 3 Lines 168-177 Supernatural Act 4 Scene 1 Lines 155-56 105 Appearance vs. Reality as Hiding intent or deed 6. Malcolm on how evil can look like good, but good still looks the same 6. Though all things foul . . . ., yet grace must still look so. Act 4 Scene III Lines 28-30 Regret at what he has done (apparent & real) 7. Total lack of regret now – apparent or real 7. From this moment, the very firstlings of my heart . . before this purpose cool Act 4 Scene 1 Lines 163-72 Real values vs perceived desires 5. Determined to kill Macduff even though he thinks he cannot hurt him just to get rid of fear (can’t enjoy the throne for fear) 5. But yet I’ll make assurance double sure. . . That I may tell pale hearted fear it lies and sleep in spite of thunder Act 4 Scene 1 Lines 91-95 Schuyler 106 Lesson Plan – Macbeth 5 Pre-service Teacher Mandy Schuyler School / Grade McDowell Grade 12 Cooperating Teacher___________________ Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Study of Macbeth Acts IV and V through the inquiry: “What makes a person go over to the dark side?” and through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives 1. Students will be introduced to the concept of write-arounds and trained on the process 2. Students will review the role of character development in a play and note taking skills 3. Students will identify instances of the themes in Acts IV and V of Macbeth 4. Students will practice note taking on the characters of Macbeth and Lady Macbeth Materials: Assessments 1. The quality of the write-arounds and discussion 2. Answers in class and notes taken on the characters of Macbeth/Lady Macbeth 3. Accurate identification of specific instances of the themes of ‘unnaturalness’ and ‘reality vs appearance in the 4th & 5th acts of the play 4. Good notes on the two key characters Macbeth by William Shakespeare Bellringer poster or blackboard display Slides on Character development Slides on good note taking Slides on Macbeth/Lady Macbeth Themes Act V Worksheet Slide on write arounds Anticipatory Set Bellringer: So far, do you think Macbeth is wholly responsible for all the bad things that he has done in the play, or is blame to be placed on the witches and Lady Macbeth for inciting him. Give the reasons for your answers very briefly. 5 minutes. The class will pair and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will review the concept of character development in a play (slide 1 & 2 pages 3 & 4) , and ask the class questions about the characteristics of good note taking. 5 minutes. Schuyler 107 Procedure: 1. Reading Quiz on Act IV of Macbeth (see page 4). 5 minutes 2. Teacher will provide an overview of the process of write arounds and have students break into groups of 4 and do a silent write around on the topic. “Why do you think that Macbeth keeps doing bad things, even though he was unhappy with life after the first murder?” Then there will be a group and whole class discussion of the findings. 20 minutes 3. Students will review their theme worksheets from Act IV from class and homework, quickly comparing their results with an elbow partner, and marking each theme area found as accurate or inaccurate for each other. 10 minutes 4. Students will be told that there will be a character study essay on Macbeth (the man) for the next class and homework assignment, and they should begin to think about their choice of topic. Essays MUST use detailed references to the text to support their assertions, and must have a clear thesis. Choice of topics will be: a) How (by what stages and actions) and why (with what motivation, persuasion and opportunities) did Macbeth go over to the dark side, at what point was he fully committed and why do you think this? b) Which three aspects of Macbeth’s journey to the dark side have most relevance to life in today’s world and why (with examples of current applicability)? c) If you were Macbeth, and had murdered Duncan, what do you think you would do differently from then on, and how could that affect the outcome of the play? 5. Teacher will display some character study notes of Macbeth and Lady Macbeth and students will take notes using the Cornell method, or Mind Mapping, or both. 9. The first two scenes of Act V of Macbeth will be read aloud in class and the students will use the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur. They will be asked to read the rest of Act V as homework (in an annotated edition) and come to class ready to discuss the themes and to select their essay topic. This quiet reading will be begun in class. 20 minutes Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side, and what is the process of doing it.” 5 minutes Additional Concept Related Activity: If there is extra time (unlikely) students will be asked to begin to map out questions about the route Macbeth took to go over to the dark side in their journals – questions which can form useful pointers as they consider their essay. Schuyler 108 Slide 1 Character Development in Literature Author’s Development of Character When authors create characters, they consider their • PPhhyyssiiccaall characteristics • Interaction with ootthheerr cchhaarraacctteerrss • Interaction with tthhee w woorrlldd around him/her •T Thhoouugghhttss and ffeeeelliinnggss •B Beehhaavviioorraall Traits •S Sppeeeecchh and speech habits • Past, present and future Schuyler 109 Slide 2 and What is Character Development? How do we recognize it? Character development is the collection of pphhyyssiiccaall and m meennttaall ffeeaattuurreess that bring people to life – their personalities, appearance and so on. You can describe character by paying attention to what they ddoo,, ssaayy,, tthhiinnkk aanndd ffeeeell, and by what others ssaayy aabboouutt tthheem m. The degree to which a character is revealed classifies him as flat or round. We know most about round characters: they are well rounded, flat less detailed. Round characters will usually ggrroow w,, ddeevveelloopp oorr cchhaannggee, for better or worse in a story Sometimes characters are very predictable – for example Class clown Brain Bully Athlete You can think of specific features these are likely to have. In a good piece of writing, the characters go beyond the obvious features, often having unusual or surprising ones. Look for the inner traits, the conflicts and so on. Schuyler 110 The Cornell Note-taking System Cue Column Notetaking Column (about 2 inches) (about 4-5 inches) Pull out the key words and phrases that summarize the key points in your notes to the right to make them easy to remember ( the headings on the left of the notetaking column would make a good example of what to put in this column when you actually take notes) 1. Record: During the class, use the note-taking column to record the lecture using telegraphic sentences. 2. Questions: As soon after class as possible, make up questions based on the notes in the right-hand column. Writing questions helps to clarify meanings, show relationships, see connection, and improve memory. Also, the writing of questions sets up a perfect stage for exam-studying later. 3. Recite: Cover the note-taking column with a sheet of paper. Then, look at the questions or cue-words in the question and cue column only, & say aloud, in your own words, the answers to the questions, facts, or ideas indicated by the cue-words. 4. Reflect: Reflect on the material by asking yourself questions, for example: “What’s the significance of these facts? What principle are they based on? How can I apply them? How do they fit in with what I already know? What’s beyond them? 5. Review: Spend at least ten minutes every week reviewing all your previous notes. If you do, you’ll retain a great deal for current use, as well as, for the exam. Summary: (about two inches deep). After class, use this space at the bottom of each page to summarize the notes on that page. Adapted from How to Study by Walter Pauk, 2001 Houghton Mifflin Company Schuyler 111 Mind Maps A Mind Map® is a powerful graphic technique for note taking because it allows the use of the natural connectors of the brain. It was developed by Tony Buzan in the late 1960's How to Mind Map 7. Turn a large letter (11" x 8.5") or legal (14" x 8.4"), white sheet of paper on its side (landscape). 8. Gather a selection of colored pens, ranging from fine nib to medium and highlighters. 9. Select the topic, problem or subject to be Mind Mapped. 10. Gather any materials or research or additional information. 11. Start in the centre with an unframed image – approximately 3 inches wide and an inch high. 12. If you like, use dimension, expression and at least three colors in the central image in order to attract attention and aid memory. Schuyler 112 Slide 3 Characteristics of Good Note Taking B Brreevviittyy Notes should be brief and to the point. They need not be taken in full sentences since words, phrases, and topics are enough. They are, therefore, not always in English that is grammatically correct. R Reelleevvaannccee Only relevant facts are needed; the determining factor is the purpose for which the notes are made – in this case usually it is for review before a test. Key points must be pulled out, underlined or highlighted to give a visual and memory peg to make learning the content much easier CCllaarriittyy There should be no ambiguity. Notes should make sense when viewed after a few weeks, months, or years. Failure to decipher the notes at a later stage may render the whole labor useless. N NO OT TE ES SM MU US ST T:: CCO OV VE ER RA ALLLL T TH HE EM MA AIIN N PPO OIIN NT TS S B BE EE EA AS SY YT TO OR RE EA AD DA AN ND DU UN ND DE ER RS ST TA AN ND D PPU ULLLL O OU UT T CCR RIIT TIICCA ALL CCO ON NCCE EPPT TS SA AT TA AG GLLA AN NCCE E Schuyler 113 READING QUIZ ON ACT IV OF MACBETH Name_______________ Block____ Date______ 31. What does Macbeth find out from the witches (key thing number one)? 32. What else does Macbeth find out from the witches (key thing number two)? 33. What else does Macbeth find out from the witches (key thing number three)?? 34. What does Macbeth decide to do when he hears Macduff has fled? 35. Why is Lady Macduff furious with her husband? 36. What does Ross tell Macduff has happened when he sees him at the English court? 37. What does the doctor say the King of England can do? 38. What does Macduff tell Malcolm he wants most? 39. Why does Malcolm tell Macduff he has a very bad character? 40. Who has the king of England given Malcolm to help him fight? Schuyler 114 Write-Arounds Groups of four Introduce yourselves if necessary 3 minutes to review notes on Macbeth so far or just think about this question: ““W Whhyy ddoo yyoouu tthhiinnkk tthhaatt M Maaccbbeetthh kkeeeeppss ddooiinngg bbaadd tthhiinnggss,, eevveenn tthhoouugghh hhee w waass uunnhhaappppyy w wiitthh lliiffee aafftteerr tthhee ffiirrsstt m muurrddeerr??”” PLEASE MAINTAIN COMPLETE SILENCE Write one thoughtful comment or question about this subject at the top of a piece of paper – two minutes Put your initials beside your contribution Pass your paper to the left Read your classmate’s comment and think about it – one minute Respond thoughtfully to it with your own comment or question - two minutes Repeat three times until the originator has that particular sheet back NOW WE CAN TALK! Schuyler 115 Write Around Discussion: Now as a team, please discuss the following questions in five minutes: First honor the strand – discuss the quality and insights your team created – What did you think? What did you learn? Did you agree or agree to disagree? Now list three things your group said or did which helped it have a successful written conversation and discussion What is one thing your group would do differently the next time? Schuyler 116 THOUGHTS ON THE CHARACTER OF MACBETH Macbeth is an interesting character. Some say that Macbeth represents humankind. Do we consider Macbeth a hero or a villain? There has been much disagreement over this. Here is a run through of his key actions to help you make your decision. We first meet Macbeth as a brave, loyal general who is given the high title of Thane of Cawdor by King Duncan. He seems like a noble, good person. Macbeth becomes ambitious to be king. Though he has misgivings about killing King Duncan, his wife tells him to and plans the killing. Macbeth’s conscience tells him not to kill Duncan but he goes through with it, feeling guilty after the crime. It may be considered partly his wife’s fault. He still has a conscience but he did a bad thing. Next, Macbeth kills two guards so that they won’t speak about the murder, needing to cover it up. But then, he sends men to kill Banquo and his son because they may be threats to his throne. Banquo is his close friend. It seems that Macbeth’s conscience has disappeared, as he gets men to kill his friend and he is happy when the job is done. One can argue, though, that he had to do this in order to keep his throne. You can also say that Macbeth was shaken by the ghost of Banquo (conscience still there). Next, Macbeth kills the family of Macduff. He does this because Macduff has gone to England. The family is warned by a messenger, but is unable to escape in time. Macduff’s wife and son are killed. Why did Macbeth do this? These innocent people were not a threat to him. Macbeth was so overconfident from the witches’ prophesies that he thought himself invincible. Macbeth seems to have lost his conscience completely; nothing can harm him. He has no reason to worry. Macbeth kills Young Siward and gets killed by Macduff in the end. Source Thinkquest website < http://library.thinkquest.org/19539/macbeth.htm> Schuyler 117 THOUGHTS ON THE CHARACTER OF LADY MACBETH Lady Macbeth’s strength of will and masculine firmness gave her the advantage over her husband's faltering virtue. She at once seizes on the opportunity for their wished-for greatness, and never flinches until it is all over. The magnitude of her resolution almost covers the magnitude of her guilt. She is a great bad woman, whom we hate, but whom we fear more than we hate. She is only wicked to gain a great end; and is perhaps more distinguished by her commanding presence of mind and inexorable self-will, which do not suffer her to be diverted from a bad purpose by weak and womanly regrets, than by the hardness of her heart or want of natural affections. The reproach to Macbeth, the assurance that "a little water clears them of this deed," shows nothing but her greater consistency in evil. Her strong-nerved ambition puts steel in "the sides of his intent"; and she is wound up to the execution of her murderous project with the unshrinking determination in crime. She makes deliberate sacrifice of all other considerations to the gaining "for their future days and nights sole sovereign sway and masterdom.” This uncontrollable eagerness of anticipating royalty, which seems to take possession of all her faculties, makes her give a substantial flesh and blood display of passion. Her fault seems to have been an excess of self-interest and family ambition, not amenable to decent feelings of compassion and justice, which is so common in barbarous nations and times. A passing reflection of this kind, on the resemblance of the sleeping king to her father, alone prevents her from slaying Duncan with her own hand. Source: William Hazlitt on the Absolute Shakespeare website http://absoluteshakespeare.com/guides/macbeth/characters/macbeth_characters_essay.htm 118 FINDING THE THEMES AND MOTIFS IN MACBETH – ACT V Name_________ Block_____ Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find: 1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great Chain of being (especially the body or office of an anointed King) 2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets what he wants. THEMES THROUGH THE PLAY OF MACBETH Description of event Unnatural as Supernatural Bestial, AntiNatural Crime against Great Chain Appearance vs. Reality as Hiding intent or deed Regret at deeds (real & apparent) Real values vs perceived desires & change in them Quotation Act – Scene – Line# Ref. 119 THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT V Unnatural as Description of event & why it represents the theme Quotation Act – Scene – Line# Ref. Supernatural 10. Macbeth announces his invincibility as foretold by the witches 11. Ibid 12. Macbeth boasting Macduff can’t kill him 10. Till Birnam wood remove . . . I cannot taint with fear 11. Fear not Macbeth, no man . . born of woman shall e’er have power upon thee 12. I bear a charmed life . . of woman born Act 5 Scene 3 Lines 2-3 Act 5 Scene 3 Lines 6-7 Act 5 Sc 5 16-17 Bestial, AntiNatural 12. Doctor discussing Lady Macbeth’s sleepwalking 13. Ibid 14. Ibid 15. Mentieth describing Macbeth’s own body rebelling 16. Macbeth chafing at being penned in his castle 12. A great perturbation in nature . . and do the effects of watching! 13. This disease is beyond my practice 14. Foul whisperings . . than the physician 15. Who then shall blame . . . condemn itself for being there? 16. They have tied me . . bear-like I must fight the course Act 5 Scene 1 Lines 9-11 Act 5 Sc 1 54-55 Act 5 Sc 1 66-69 Act 5 Scene 1 Lines 27-30 Act 5 Scene 7 Lines 3-4 Crime against the King & Great Chain 6. Angus describes how Macbeth’s sacrilege in killing the king loosen his ability to rule 7. Lennox describing Macbeth’s replacement with son of Duncan 6. now does he feel his title hang loose about him . . . .thief Act 5 Scene 2 Lines 24-25 7. To dew the sovereign flower and drown the weeds Act 5 Scene 2 Line 37 120 Appearance vs. Reality as Hiding intent or deed 7. Malcolm tells the soldiers to cut trees to hide themselves 7. thereby shall we shadow the numbers . . .make discovery err in us Act 5 Scene IV Lines 7-10 Regret at what he has done (apparent & real) 8. Macbeth regretting the loss of joy to himself 9. Macbeth sad at the death of Lady Macbeth & his own misery 10. Macbeth tired of his own life 11. Macbeth hesitating to fight Macduff 8. I am sick at heart . . .would fain deny and dare not 9. All our yesterdays have lighted fools the way . . . signifying nothing 10. I gin to be aweary. . now undone 11. Get thee back .blood of thine already Act 5 Scene 3 Lines 24-33 Act 5 Scene 5 Lines 25-31 Act 5 Sc 5 55-56 Act 5 Sc 5 7-8 Real values vs perceived desires & change in them 6. Macbeth marveling at his lack of fear – he has seen so much horror 6. I have almost forgot the taste of fears; . . .cannot once start me Act 5 Scene 5 Lines 11-17 Schuyler 121 Lesson Plan – Macbeth 6 Pre-service Teacher Mandy Schuyler School / Grade McDowell Grade 12 Cooperating Teacher___________________ Date Written 1/28/06 Date Reviewed_______ Lesson Subject Macbeth by William Shakespeare Teaching Time 90 minutes Lesson Concept: Study of Macbeth overall through the inquiry: “What makes a person go over to the dark side?” and through the play’s story line with its key themes. Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11. A,B,C,D,E,G,H 1.2.11 A,B 1.3.11. A,B,C,D,E,F 1.4.11. C,D 1.6.11. A,B. Objectives Assessments 1. Students will review the structure of an essay and its thesis 1. The quality of the final essays 2. Students will select their topic and assemble data from all their recent exercises 10. Evidence package 3. Students will create outlines of their essays in class, with a partner to review/comment 11. Solid outline structures 12. Good first draft 3. Students will begin to draft their essays Materials: Macbeth by William Shakespeare Bellringer poster or blackboard display Essay, Thesis & Plan overheads Essay planning & Thesis Worksheet Act V Reading Quiz sheets Anticipatory Set Bellringer: Remember a time when you really enjoyed writing something – a letter to a friend, song lyrics, fan fiction, email describing a football game or a day at the beach. With that in mind, try to think of three things that can make writing fun for you and why you think they work well for you. Maybe it’s a fun topic; maybe it’s an audience you like; maybe it’s music in the background. 5 minutes. The class will pair and share their answers to this question for 3 minutes. Activating Prior Knowledge: The teacher will review the concept of essay structure and thesis makeup (slides pages 4-6) and ask the class questions about the best approach to writing for them. 10 minutes. Schuyler 122 Procedure: 1. Reading Quiz on Act V of Macbeth (see page 19). 5 minutes 2. Students will be asked to select their topic for the character study essay on Macbeth (the man) May handing in a slip of paper with their name and topic on it. Students are reminded that essays MUST use detailed references to the text to support their assertions, and must have a clear thesis. Choice of topics will be: a) How (by what stages and actions) and why (with what motivation, persuasion and opportunities) did Macbeth go over to the dark side, at what point was he fully committed and why do you think this? b) Which three aspects of Macbeth’s journey to the dark side have most relevance to life in today’s world and why (with examples of current applicability)? c) If you were Macbeth, and had murdered Duncan, what do you think you would do differently from then on, and how could that affect the outcome of the play? 3. Teacher will provide an overview of the process of essay planning and a handout on thesis construction (Pages 7-18). (10 minutes) and then have students break into groups of 2 and do an overview plan for their essays, with buddies helping each other draft a good plan. (20 minutes) - Total 30 minutes 4. Students will review their theme worksheets from Act V from class and homework, quickly comparing their results with an elbow partner, and marking each theme area found as accurate or inaccurate for each other. 10 minutes 13. Students will be asked to assemble information for their selected essay topic from: a. character study notes of Macbeth and Lady Macbeth taken last class b. All their themes worksheets from the last five classes, especially those on hiding, regret and values c. Their worksheets on why a person goes over to the dark side d. Their process worksheets on the stages of doing it. (5 minutes) 14. Teacher will introduce the final project for Macbeth, which will begun next class. Students will do a real life project in one of two settings. Either they will go on a sponsored visit to the local police station to look at criminal or court records and pick one frequently committed type of crime (e.g. theft) or they will go to a prearranged meeting with the school administration to see types of misbehavior which have recently been most prevalent in the schools. (This will have been worked out to remove any names for privacy, and leave the circumstances). Students will study their selected misdeed, and apply the learning regarding what makes a person turn to the dark side to write a proposal for how to make changes in the school or in society that will make it less likely for people to turn bad – this can be training, working with those who suffered to understand the effects of the dead ahead of time, writing a story about what such a deed would do to their own life if someone had perpetrated it on them, or any other practically feasible action which the student’s learning makes them believe it could be effective. Schuyler 123 Students will be asked to select their project option by next class and think about the kinds of deed they might wish to study. The research work will be done in groups of four, with individual proposals (10 minutes with questions) 7. Student will then begin to write their essays with the review and suggestion help of their buddy from the planning exercise above. It will be continued and completed for homework. (20 minutes) Closure: A student led brainstorming will lay out on the blackboard the main things we learned in class today, and prioritize them as likely to be helpful in answering the question “What makes a person go over to the dark side, and what is the process of doing it.” 5 minutes Additional Concept Related Activity: If there is extra time (unlikely) students will be asked to review and flesh out questions about the route Macbeth took to go over to the dark side in their journals – questions which can form useful pointers as they consider their essay. Schuyler 124 Slide 1 The Structure of an Essay An essay should have at least 5 paragraphs including an introduction and conclusion, structured a bit like a hamburger. Bun top Introduction Toasted face Condiments Thesis Support 1 Cheese Support 2 Beef patty Support 3 Toasted face Restate Thesis Bun bottom Conclusion 1. Start with a ““hhooookk”” – an interesting idea, fact or quotation relevant to your topic. This could be from a song lyric like Spitalfield’s Doing Bad Things album, or the fact that violent crime rates have been reducing for ten years. 2. State your tthheessiiss – the core idea of your essay 3. Make 33 ddiiffffeerreenntt aarrgguum meennttss to support your main idea, using quotes from the text and other sources (cited) 4. Restate your tthheessiiss, which has now been supported – in a slightly different way, telling us why it is now proved 5. Make an interesting ccoonncclluussiioonn tying back to your ““hhooookk”” Schuyler 125 The Thesis The most important single sentence in the essay: core idea 11 sseenntteennccee w wiitthh 3 3 ppaarrttss E Exxaam mppllee:: B Bllaacckk E Ellkk S Sppeeaakkss aaccccuurraatteellyy rreepprreesseennttss IInnddiiaann lliiffeessttyyllee tthhrroouugghh iittss aatttteennttiioonn ttoo ccuullttuurraall ddeettaaiill,, iittss uussee ooff IInnddiiaann w woorrddss,, aanndd iittss ddiirreecctt qquuootteess ffrroom mB Bllaacckk E Ellkk.. 3 main parts: lliim miitteedd ssuubbjjeecctt,, pprreecciissee ooppiinniioonn, and bblluueepprriinntt. 11.. LLiim miitteedd S Suubbjjeecctt States exactly oonn w whhaatt,, oorr w whhoom m tthhee eessssaayy ffooccuusseess. The book title (Black Elk Speaks), from the example, is the limited subject of the thesis statement: Black Elk Speaks accurately represents Indian lifestyle through its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. 22.. PPrreecciissee O Oppiinniioonn Your aannssw weerr ttoo aa qquueessttiioonn about the subject. (What does Black Elk Speaks accomplish?) Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. Schuyler 126 Below is an example of a different precise opinion. This also tells how the author feels, yet is completely opposite. Either works, as long as the rest of the essay supports the opinion: Black Elk Speaks fails to represent Indian lifestyle by its lack of attention to cultural detail, its misunderstanding of Indian words, and its lack of quotes from Black Elk himself. 3. Blueprint - A plan for the essay. Just like the blueprint of a building tells you what the finished product is supposed to look like, the blueprint of an essay shows the whole shape of your ideas before you start churning out whole paragraphs. Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. In the blueprint, the author signals an intention to support the precise opinion. The author of the example above introduces three different kinds of evidence: cultural detail, Indian words, and quotes from Black Elk. So the reader expects to find one section devoted to each subtopic. Note: A thesis statement won’t work if the paper is not completely focused on that main point. Blueprinting helps keep the focus of the thesis throughout the entire essay, which makes it a necessary part of the thesis statement Schuyler 127 Name_____________ Block _______ Date_________ GENERATIVE PLANNING FOR ESSAYS THIS IS FIRST Answer each prompt thoughtfully and mindfully before you start composing. This is to help you get started “with the end in mind.” Don’t skip anything. 1. What do you think your teacher is asking you to do in this essay? 2. What kind of information (data) are you working with for this essay? In what forms will you find the data you’ll be needing? From what sources will you find the data? Macbeth theme worksheets Macbeth Dark Side worksheets (causes and process) Source for your hook: Other things you might want to include: 3. What steps are you going to have to take to get all the data you need for this essay? 4. When will you be able to get all the data you need? 5. Who is your audience for this essay? (Real and/or imagined) What do they already know about the data? What new information can they learn about the data? What do they want Schuyler 128 to be able to do with the information about the data that you’ll provide them? What do you want them to do, think, or feel about your essay after they’ve read it? 6. What do you want to accomplish by sharing your arguments in this essay? 7. What main message do you want to get across to your audience in this Argument? What would that look like written as a Thesis Statement? Limited Subject: Precise Opinion: Blueprint: All in one sentence: 8. What do you already know and believe about your data and topic? Schuyler 129 9. Laid out on this page is each of the required pages for this Argument. On each one, jot down key phrases or sentences that reveal what you plan to write about – the essay can be limited to five pages if you wish in double spaced 12 point font: PAGE 1 PAGE 2 Hook Introduction Thesis PAGE 3 PAGE 4 PAGE 5 Restated thesis Conclusion tying back to hook (PAGE 6 & 7) Schuyler 130 COMPOSING A DRAFT THIS IS SECOND Answer each prompt thoughtfully and mindfully before you start writing a draft. This is to help you get started “with the end in mind.” Don’t skip anything. 1. What main message are you going to try to get across to your audience in this essay? 2. Write that message in the form of a Thesis Statement. (Think it through carefully again and see if it works per the attached paper on thesis statements). Limited Subject: Precise Opinion: Blueprint: All in one sentence: 3. If this is your Thesis Statement, what bits of data have to come first? (Go back to the order of your blueprint) List them here. 4. If this is your Thesis Statement, what bits of data have to come after the first ones? (Go back to the order of your blueprint) List them here. 5. If this is your Thesis Statement, what bits of data have to come next? List them here. Schuyler 131 6. List any additional data you’ll need in the order in which you’ll need them. 7. Go back to the first section of bits of data. What do you need to explain about the data bits so that your audience understands the point you’re making in your Thesis? Write out your explanation for the first section here. 8. Do the same thing with the second section of data bits. 9. Do the same thing with the remaining sections of data. Congratulations! You have a draft of the Body of the Argument! Schuyler 132 10. Now that you have a rough sketch of the Body sections, read them over and think about how each one is relating to your Thesis. Would you say you needed to add, delete, or change information in each of the sections 11. Now that you have a rough sketch of the Body sections, what are the best things to say in an Introduction to this Argument? Make a list of those things here. Think especially about the Hook. What will your Hook be? 12. Now that you have a rough sketch of the Body sections, what are the best things to say in a Conclusion to this Argument? Make a list of those things here. Think especially about a Cool Idea or Deep Thought about life to end with. What will your Cool Idea or Deep Thought be? Remember it must tie back to the introduction and be relevant to the thesis. Schuyler 133 REVIEWING THE DRAFT THIS IS THIRD Answer each prompt thoughtfully and mindfully after you’ve started writing a draft. This is to help you achieve the end you had in mind. Don’t skip anything. Feel free to use your partner for help – it’s easier to see improvements in others’ writing! 1. Read over your draft as if you were a member of the audience you’ve targeted for the essay. As that audience member, write out a reaction to the essay you’ve just read. What do you like about it? What are you unhappy with? Do this not as yourself but as one of the readers you’re trying to reach. 2. Go back to the Planning sheets. You wrote there what you wanted your audience to know, think, or feel after they read your essay. What of that can you find in the above reaction to the essay that you just wrote? 3. Based on the above two pieces of information, make a list of the things you need to address in your draft. 4. For each item on the list, write down a strategy for how you’ll address it. 5. Carry out each strategy from your list. Congratulations! You have just revised your Argument! Schuyler 134 PREPARING THE MANUSCRIPT THIS IS LAST Leave yourself enough time to follow this checklist correctly. This tells you the mechanical aspects of what I’m looking for when I read your work. Put a check next to each item as you complete it. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Make sure the subject matter is clearly stated in the Introduction. Make sure the Introduction has a Hook. Make sure the Thesis Statement is obviously stated and placed. Make sure each term of the Thesis Statement gets its own section in the Body. Make sure you have sufficient examples from your data for each term. Make sure your reasoning is evident within each section and from section to section. Make sure the Conclusion has a Deep Thought or Cool Idea tying back to the hook. Make sure you proofread for typos that your computer cannot detect, for example: “and” for “an,” “on” for no,” “if” for “of,” “there” for “their,” “it’s” for “its,” and “were” for “where.” Make sure you’ve eliminated and replaced all “you” and “your.” Make sure you proofread for typical misspellings, for example: “then” when you want “than,” “’s” (possession or contraction) when you want “s” (plural), “posses” (incorrect) when you want “possess.” Make sure you proofread for extra or incorrect commas. Make sure you eliminate and correct all fragments (sentence with no subject-verb clause. Make sure your Argument has a cover page stating your name, the block, the Title of Your Argument, and the date. Make sure the final draft is stapled or folded together Make sure each page after the title page is numbered and has your name on if not stapled. Make sure the margins of each page are one-inch all around. These are not default margins, so you will have to change them. Use 12-cpi in some standard font. This is Comic Sans in 10-cpi. Double space the entire essay and never change the spacing. Indent 5 spaces or 1 inch for a paragraph. Make sure you turn in your planning sheets with the essay. Schuyler 135 17 Oct 2000; by Nicci Jordan, UWEC Junior Updated and maintained by Dennis G. Jerz The Thesis Statement (Handout to go with planning sheets) A thesis statement is the main idea that your essay supports. It is similar to a topic sentence for a paragraph, only it speaks for the entire essay. A very complex thesis statement may take up a whole paragraph, but the standard freshman composition essay does the job in one concise sentence. Black Elk Speaks accurately represents Indian lifestyle through its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. The thesis statement has 3 main parts: the limited subject, the precise opinion, and the blueprint. 1. Limited Subject The limited subject tells the reader exactly on what, or whom the article focuses. The book title (Black Elk Speaks), from the example, is the limited subject of the thesis statement: Black Elk Speaks accurately represents Indian lifestyle through its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. 2. Precise Opinion The precise opinion gives your answer to a question about the subject. Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. Note: a question without an answer is not an opinion: "Does Black Elk Speaks accurately represent Indian lifestyle?" You may, of course, wish to argue that a particular question is unanswerable -- but that would still be an opinion that you would have to back up just like any other answer. --DGJ Below is an example of a different precise opinion. This precise opinion also tells how the author feels, yet it is completely opposite from the original example. Either is acceptable, as long as the rest of the essay supports the opinion: Schuyler 136 Black Elk Speaks fails to represent Indian lifestyle by its lack of attention to cultural detail, its misunderstanding of Indian words, and its lack of quotes from Black Elk himself. A good precise opinion is vital to the reader's comprehension of the goal of the essay. 3. Blueprint A blueprint is a plan for the essay. Just like the blueprint of a building tells you what the finished product is supposed to look like, the blueprint of an essay permits you to see the whole shape of your ideas before you start churning out whole paragraphs. (See: Blueprinting.) Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use of Indian words, and its direct quotes from Black Elk. In the blueprint, the author signals an intention to support the precise opinion. The author of the example above introduces three different kinds of evidence: cultural detail, Indian words, and quotes from Black Elk. Informed by this blueprint, the reader expects to encounter one section (a paragraph or more) devoted to each subtopic To emphasize the structure of your essay, repeat each phrase of the blueprint as you introduce the paragraph(s) in which you expand and support each point that you want to make. The way you introduce the supporting evidence is through topic sentences -- miniature thesis statements that echo the paper's main idea. Note: A thesis statement amounts to nothing if the paper is not completely focused on that main point. Blueprinting helps create the coherency of the thesis throughout the entire essay, which makes it a necessary part of the thesis statement A thesis reminder is a direct echo of the thesis statement. In a short paper, the topic sentence of each paragraph should repeat words or phrases from the thesis statement. No matter how good your thesis, your writing is worth little if it does not cohere (hold together) and demonstrate to the reader how each new point advances the Schuyler 137 main idea. You can accomplish both goals by providing your reader with thesis reminders. A good thesis sentence has three main parts: the limited subject (what your paper is about), the precise opinion (what you're trying to say about that subject), and the blueprint (a brief outline of how you're going to support your claim). (See: "Thesis Statements") Here are two examples of using the thesis and the blueprint to maintain coherence. Schuyler 138 Example 1 Thesis Statement: Restoring old houses is rewarding because it is exciting, relaxing, and satisfying. Topic Sentence #1 with reminder Part of the reward in restoring old houses lies in the excitement of discovering the original interior. Topic Sentence #2 with reminder: Not only is there excitement in restoring old houses, but working with one's hands is relaxing. Topic Sentence #3 with reminder: However excited and relaxed you may be when you have finished restoring your house, nothing beats the satisfaction found in viewing the completed project. Example 2: Thesis Statement: Becoming a ski patroller turned out to be harder than I thought because of the studying, the skiing, and the time demands. Topic Sentence #1 with reminder: The first hurdle to becoming a ski patroller was the amount of studying required to learn the medical terms, symptoms and signs, and treatments. Topic Sentence #2 with reminder: It isn't enough to pass the first aid and CPR exams; a ski patroller also must train for/demonstrate skiing proficiency and toboggan handling on the slope. Topic Sentence #3 with reminder: Studying and ski training are both very time consuming, yet, even after ski patrollers pass all the exams, they still must commit themselves to skiing many hours regardless of the weather or snow conditions. Source: University of Wisconsin Eau Claire Website http://jerz.setonhill.edu/writing/academic/thesis.htm Schuyler 139 Limited Subject a) c) Precise Opinion b) Blueprint Examples 1. Doing What We Need To a) I wonder why capable people find it so hard to do what they should, when they should. (Limited subject) b) The most likely reason is that life in America is rich, various and enjoyable, (precise opinion) c) so that young people are always drawn to leisure activities (blueprint) such as sports, (first body paragraph) games (2nd body paragraph) and communicating with friends (3rd body paragraph). 2. Different tastes in music a) I wonder why people from the same region and of the same generation and grade year have tastes in music that differ so drastically from each other. b) I think it is because they are very different as people (precise opinion) c) in that they have different personalities (blueprint) including their intelligences and talents (first body paragraph), their family and ethnic cultural background (2nd body paragraph) and their life experiences and discoveries (3rd body paragraph). Schuyler 140 READING QUIZ ON ACT V OF MACBETH Name_______________ Block____ Date______ 41. What has Lady Macbeth started to do that resulted in her needing a doctor? 42. Why does the doctor say she needs divine help rather than a physician? 43. How does “Birnham Wood move to Dunsinane”? 44. Why does Angus believe Macbeth is feeling his murders “sticking on his hands”? 45. Why does Macbeth say he doesn’t want any more military reports? 46. How does Macbeth expect to defeat the army of Malcolm? 47. Why does Macbeth say he is no longer afraid of anything? 48. Who does Macbeth kill first in the battle? 49. Why can Macduff kill Macbeth in spite of the prophecy? 50. Where is Malcolm headed at the end of the play?