Understanding by Design:
THE ROMANTIC PERIOD UNIT
By Olga Goretoy
Stage 1 - Desired Outcome
Established Goals:
G
* What relevant goals (e.g. content standards, course or program objective, learning outcomes) will
this design address?
1. Each student will be able to identify common themes, values, and characteristics of the
Romantic period.
2. Each student will be able to analyze literature, art, and music from the Romantic period,
identifying characteristics of the period in the work.
3. Each student will be able to cite historical influences in the literature that is read in this unit.
4. Each student will be able to participate in class discussion, projects, and group work.
5. Each student will make connections to the world and himself/herself from the literature that is
read.
6. Each student will read Charles Dickens’ A Tale of Two Cities.
7. Each student will read other texts from the Romantic period.
8. Each student will write an analysis of A Tale of Two Cities.
Understandings:
Students will understand that…



The word and idea “romantic” is
more than just another word for
“love”.
The Romantic Period (RP) was a
revolt against the structure,
rules, rationalism, and emphasis
on science of the previous period
(the Enlightenment).
Common themes of the
Romantic Period were: art
U
Essential Questions:
Q
* What provocative questions will foster inquiry,
understanding, and transfer of learning?




Which is better: science or imagination? Why?
Why should an individual be valued? Does a person
even have the potential for individual value?
Where, in whom, or in what can a person find hope?
What is the perception of women during the
Romantic Period? What role do they play?



(creativity), emotions,
exaggeration, idealization,
nature, the individual (sometimes
a misunderstood loner), and awe
of the sublime.
These themes transcended the
literature, art, and music of this
period.
Nature is a symbol of purity at
this time.
Ordinary people, ideas, and
objects in the RP were
optimistically believed to have
much potential in ability, beauty,
and value.
Stage 2 - Assessment Evidence
Performance Tasks:
T
Other Evidence:
Socratic Seminars
Quizzes
Tests
Mad Forty
Projects
The students will participate in various
literary environments and communities
where they will discuss literature, art, and
music from the Romantic period, and
make personal and modern connections.
Oral Presentations
Class Participation
Homework
OE
Stage 3 - Learning Plan
Learning Activities:
L
What learning experiences and instruction will enable students to achieve the desired results?
How will the design
W = Help the students know Where the unit is going and What is expected? Help the teacher know
Where the students are coming from (prior knowledge, interests)?
H = Hook all students, and Hold their interest?
E = Equip students, help them Experience the key ideas and Explore the issue?
R = Provide opportunities to Rethink and Revise their understandings and work?
E = Allow students to Evaluate their work and its
implications?
T = be Tailored (personalized) to the different needs, interests, and abilities of learners?
O = Be Organized to maximize initial and sustained engagement as well as effective learning?
DAY
WHO
(STUDENTS)
WHAT (CONTENT)
WHERE
(ENVIRONMENT)
HOW (PROCESS)
Introduction to Romantic
Period.
Whole class
Power Point.
30 days I am here.
4 off days.
--4 days of
research project
learning.
(TWO
COLLEGELEVEL
CLASSES)
--21 days of
ROMANTIC PER.
…
1
ALL
See Lesson 1.
--important themes,
people, and events.
Introduction to the art
and music of the period,
too.
2
ALL
Exploration of art.
Whole Class
See Lesson 2.
Informal small
group
3
ALL
Exploration of music.
Whole Class
See Lesson 3.
Individual
4
ALL
Introduce Dickens’ A
Tale of Two Cities.
Whole Class
See Lesson 4
Group Work
- Dickens’ bio.
Individual
-Context of
ATOTC.
-Handouts to help
with reading of
ATOTC.
-Venn diagram of
France and
England, as
portrayed by
Charles Dickens in
the first chapter.
HW: read CH 2-4
5
ALL
-Grammar Lesson:
Comma Splices.
Whole Class.
See Lesson 5
Individual.
After Lesson 5, we
will review what the
students learned in
Ch. 2-4, fill in the
Character List
sheet, and assign
the students
homework.
-Review Ch. 2-4
Group Work.
HW: read CH 5-6,
ending Book 1
6
ALL
-Review Ch. 5-6
-Go over symbolism, in
Dickens and Romantic
Whole Class.
See Lesson 6
era.
-Quiz: students must
pass in their books and
Character Lists for a
quiz grade. They will get
these back before Day 7
of this unit.
7
ALL
-Review Ch. 1-3
HW: BOOK 2…
read CH 1-3
Whole Class.
Discussion.
-Read aloud ch.4
-Discussion about
Symbolism continued:
consider title of Book 2,
“Golden Thread”
-Pass out “Romantic
Readings” Project. Due
Friday, February 18,
2011.
8
ALL
-Mad 40: “Romantic
Values”
HW: read CH 5-8
Individual.
See Lesson 7
HW: read CH 9-11
9
ALL
-Review Ch. 5-11
Whole class.
-Talk about women’s
role/symbol in the
Romantic Era.
Group work.
Stations.
Individual.
HW: read CH 12-15
10-------leave for
February Break
ALL
-Review Ch. 12-15
Discuss Symbolism in
Ch. 15=knitting!!
Whole Class.
Individual.
- “Romantic Readings”
Presentations
Come back from
February Break---11
12
ALL
-Review Ch. 16-24
Via a Socratic Seminar.
-QUIZ: At the end of the
period, teacher will
collect books and
Character Lists (make
sure students are
keeping up with post-its
See lesson 8
HW: read CH 1624, ending Book 2
Whole
Class/Large
Group Work.
See Lesson 9
Whole Class.
Continue
Reviewing Ch. 1724using the
Socratic seminar
technique from
and keeping track of
characters).
13
ALL
-Give books and
character lists back to
students.
Lesson 9.
Whole Class.
HW: BOOK 3
read CH 1-4
-Intro to Book 3.
14
ALL
-Review Ch. 1-4
Lecture.
Whole Class.
Class Discussion or
Socratic Seminar.
HW: read CH 5-8
15
ALL
-Poems
Whole Class.
See Lesson 10
Group Work.
16
ALL
-Review Ch. 5-8
Whole Class.
Discussion.
HW: read CH 9-11
17
ALL
-Review Ch. 9-11
Whole Class.
-Pass out “A Tale Of Two
Cities Project”… due
March 14th.
18
ALL
-Review Ch. 12-14
Discussion.
HW: read CH 12-14
Whole Class.
Discussion.
HW: read CH 15,
ending Book 3
19
ALL
-Students hand in their
ATOTC project.
Whole Class.
Review for Unit
Test.
-Learn study skills
20
ALL
-Continue to learn study
skills.
Whole class.
Continue to review
for Unit Test.
21
ALL
Summarizing what we
learned.
Individual.
Unit Test.
Olga Goretoy’s Lesson Plan #1
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GSEs/GLEs:
National Content
Standards:
“More than Love: Introduction to the Romantic Period”
OC–10–1
In oral communication, students demonstrate interactive listening by …
 OC–10–1.1 Following verbal instructions, to perform specific tasks, to answer
questions, or to solve problems
 OC–10–1.2 Summarizing, paraphrasing, questioning, or contributing to information
presented
 OC–10–1.4 Participating in large and small group discussions showing respect for a
range of individual ideas
NCTE/IRA:
1) Students read a wide range of print and non-print texts to build an understanding of
texts, of themselves, and of the cultures of the United States and the world; to
acquire new information; to respond to the needs and demands of society and the
workplace; and for personal fulfillment. Among these texts are fiction and
nonfiction, classic and contemporary works.
3) Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with
other readers and writers, their knowledge of word meaning and of other texts,
their word identification strategies, and their understanding of textual features
(e.g., sound-letter correspondence, sentence structure, context, graphics).
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
Today is the first time students are introduced to the Romantic period.
This lesson will be mostly lecture, with the teacher presenting new
information to the students, building their background knowledge of the
period to better understand the texts they will be reading in the coming
weeks. The students will study A Tale of Two Cities along with the
Romantic period, but the period itself will be taught as the focus. As
such, the students will also be studying other poets, musicians, and
artists from this period. For this reason, this lesson is important in
establishing context and unifying ideas for these different disciplines and
genres.
The Romantic Period Unit is 21 days long.
There are 20 students in the class (two college-level, or B-level, classes);
most are white, middle class students. In both classes, there are about
three Asian students.
Opportunities
to Learn
Plans to differentiate instruction:
Auditory: The teacher will verbally go over what is on the power point, so these
students can hear the information relayed to them. There will also be room for
discussion during the presentation, allowing these students to explore their
questions and thoughts out loud.
Definition:
Materials, Learners
and Environments
Spatial/Visual: The power point will include pictures, to help these students
connect the information to understandable visuals.
Linguistic: The hand out will give these students a chance to write out their
prior knowledge, so they can see it and verbalize it. The chance to write will
also help these students focus. Copying the notes in their own handwriting will
also be a way for these students to internalize the new information.
Intrapersonal: Students will have a chance to analyze their own background
knowledge with the handout that they will receive.
Accommodations and modifications:
To help students prepare to take notes during this period, the teacher will give
the students the “Before We Begin” handout to help settle the class down. This
will be helpful for all students to transition from their previous class and begin
to think about what they will be learning today, and will especially help those
students who need order and direction (like students with autism; they like
structure).
Environment factors:
The class has twenty students in it. noise should not be a problem today, as
there is no group work. The teacher will need arrange the chairs to make sure
everyone can see the power point presentation; the screen that the projector
displays the images on is in a corner of the classroom that is not always easily
visible from all points in the classroom.
Materials:
1. “Before We Begin” handout.
2. Lord Byron’s poem—copy for the teacher.
--Teacher’s power point information comes from the following sources:
Kreis, Steven. “Lecture 16: The Romantic Era”. The History Guide: Lectures on
the Modern European Intellectual History. n.p, 04 August 2009. 17
December
2010.
<<http://www.historyguide.
org/intellect/lecture16a.html>>
chichibobbytam. “My favourite romantic period composers”. YouTube, 22
February
2009.
Accessed
on
17
December
2010.
<<http://www.youtube.com/watch?v=7vgcuTWl1CY>>
Objectives
Strategy Objective:
The student will be able to interpret new information about the Romantic Period
that is presented in the power point, recoding what he/she learns in a notebook
to be used as a studying reference later.
Content Objective:
The student will complete a “Before We Begin” hand out to activate prior
knowledge of the Romantic Period, answering at least 3 out of the 5 questions.
68 minute period.
Opening: 10 minutes.
Instructional
Procedures
1) Activate prior knowledge with the students, and help recognize any
misconceptions they have about the Romantic period. Ask the students to
complete the “Before We Begin” handout. (5 min.)
2) With the whole class, go over some of the answers to the questions on the
sheet. Accept all answers, but do not say if they are right or wrong. We just
want to lay out the attitude of the class towards this period before
beginning studying it.
3) Collect the handouts. Tell the students I will look over the papers, but give
them back to the students. They will need to save these papers for a later
project once they get them back.
4) “Many people understand that the Romantic period had a lot to do with
love, but some people think that is all that people talked about during this
time. This is not true. The Romantic period was an exploration of all
human emotions, using many modes of creativity (not just poetry). Let’s
look at the period in a broad perspective.” Proceed to the Engagement…
Engagement: 53 minutes.
1) I will read Lord Byron’s poem, “Remind Me Not, Remind Me Not”, out
loud—with emotion. As I finish, say to the students, “Yes, the Romantic
period is about love. But more than that, it was a time for passion, freedom,
and creativity.”
2) Present power point about the romantic period. Introduce definition,
timeline, what is going on in the world at the time, and important
themes/values in the works created in this time. The themes to point out
are: LIBERATION, focus on the individual, nature, ideals, creativity, there
is hope for every man, the misunderstood loner. (*I will make the power
point over break). As the teacher presents the power point, have the
students interact with the information. Ask questions to check for
understanding (see if students can connect the information to something
else, or if they can make predictions). Lastly, make sure students take notes
on the power point… this information will be on the Unit Test at the end of
the unit.
Closure: 5 minutes.
1) “So, hopefully even just from today you see that there is more to the
Romantic period than just love. What surprised you to learn about the
Assessment


period today?” Take student answers.
Informal:
I will ask questions regularly to check for student understanding of the
material being presented (formative assessment). This may include asking
students to paraphrase or repeat information, make predictions about the
ideas, or respond to the new information.
Formal:
The “Before We Start” sheet will let me know of the students’ background
knowledge about the Romantic Period. This will help me make sure they are
paying attention in class and will help shape future instruction.
Ultimately, students will complete a Unit Test, where they will demonstrate
what they learned from this presentation.
NAME:___________________________________________
DATE:____________________
Before We Begin…
The Romantic Period
What do you know—or think you know—about this period already? Let’s find out…
What kinds of topics do you think we will be studying when we look at texts, music, and art from the
Romantic period? What kinds of topics do you think may not appear in this time period?
Can you think of any writers, artists, or composers from this era? If yes, which?
Can you think of any works—literary or otherwise—from this era? If yes, which?
Define “romantic”:
_____________________________________________________________________________________
_____________________________________________________________________________________
________________________________________________________________
What are your thoughts about studying “the Romantic period”? Please explain.
***SAVE THIS PAPER! YOU WILL NEED IT AGAIN IN A FEW WEEKS!***
Remind Me Not, Remind Me Not by Lord Byron
Remind me not, remind me not,
Of those beloved, those vanish'd hours,
When all my soul was given to thee;
Hours that may never be forgot,
Till Time unnerves our vital powers,
And thou and I shall cease to be.
Can I forget---canst thou forget,
When playing with thy golden hair,
How quick thy fluttering heart did move?
Oh! by my soul, I see thee yet,
With eyes so languid, breast so fair,
And lips, though silent, breathing love.
When thus reclining on my breast,
Those eyes threw back a glance so sweet,
As half reproach'd yet rais'd desire,
And still we near and nearer prest,
And still our glowing lips would meet,
As if in kisses to expire.
And then those pensive eyes would close,
And bid their lids each other seek,
Veiling the azure orbs below;
While their long lashes' darken'd gloss
Seem'd stealing o'er thy brilliant cheek,
Like raven's plumage smooth'd on snow.
I dreamt last night our love return'd,
And, sooth to say, that very dream
Was sweeter in its phantasy,
Than if for other hearts I burn'd,
For eyes that ne'er like thine could beam
In Rapture's wild reality.
Then tell me not, remind me not,
Of hours which, though for ever gone,
Can still a pleasing dream restore,
Till Thou and I shall be forgot,
And senseless, as the mouldering stone
Which tells that we shall be no more.
Olga Goretoy’s Lesson Plan #2
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GREs
OC–10–1
In oral communication, students demonstrate interactive listening by
…
National Content
Standards:
“Art Gallery: Exploration of Art in the Romantic Period”
OC–10–1.1 Following verbal instructions, to perform specific tasks, to answer
questions, or to solve problems
OC–10–1.3 Identifying the thesis of a presentation, determining the essential
elements of elaboration, and interpreting or evaluating the message
OC–10–1.4 Participating in large and small group discussions showing respect
for a range of individual ideas
NCTE/IRA:
1) Students read a wide range of print and non-print texts to build an understanding of
texts, of themselves, and of the cultures of the United States and the world; to acquire
new information; to respond to the needs and demands of society and the workplace;
and for personal fulfillment. Among these texts are fiction and nonfiction, classic and
contemporary works.
3) Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other
readers and writers, their knowledge of word meaning and of other texts, their word
identification strategies, and their understanding of textual features (e.g., sound-letter
correspondence, sentence structure, context, graphics).
7) Students conduct research on issues and interests by generating ideas and questions,
and by posing problems. They gather, evaluate, and synthesize data from a variety of
sources (e.g., print and non-print texts, artifacts, people) to communicate their
discoveries in ways that suit their purpose and audience
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
This is the second lesson of the Romantic Unit. Students have received
background information about themes and values common during the
Romantic Era in the first lesson. Now, students will get a visual representation
of this period. At this point in the unit, students are still familiarizing
themselves with the values and culture of this time period, and forming an
understanding of the mind-set of the writers, artists, musicians, etc. that they
will be learning about. Since the previous lesson was mostly lecture, this lesson
will give students an opportunity to move around more and be more
interactive with the material.
Opportunities
to Learn
Plans to differentiate instruction:
Definition:
Materials, Learners
and Environments
Kinesthetic: These students learn by using their body. As they walk from
painting to painting, they will understand that they are transitioning to a
different artist/painting and so understand that they need to respond
differently to this particular work.
Auditory: Students will have a chance to talk about the paintings with their
peers and during class discussion, helping them think through their
understanding of the paintings out loud.
Spatial/Visual: These students will benefit from getting a visual representation
of the time period. They will find it easier to understand the lecture from the
previous lesson by applying that knowledge to what they see being
represented in the paintings (a visual stimulus for their learning).
Linguistic and Intrapersonal: Students will have an opportunity to individually
respond to the paintings, and write these feelings/responses down on a postit. Writing responses to the paintings will help these students notice patterns,
similarities, and differences among the different artists and paintings.
Interpersonal: Students will get a chance to socialize—talking about the art—
as they walk around during the art walk.
Accommodations and modifications:
There are a few students in this class (two students) who have problems
socializing and connecting with other students. They usually are quiet during
group work, or refuse to participate/contribute. I do not know if they are
formally diagnosed with some kind of behavioral disability, autism, or other
issue. Walking around with the students during the art walk will give me a
chance to talk with these students and give them individual attention, making
sure they have someone with whom to discuss the art (while also keeping track
of the other students’ conversations, that they are on-topic).
None of the students in this class have reading/writing disabilities, so
responding on the post-its should not be a problem.
Environment factors:
This lesson calls for the students to walk around. Therefore, after the opening,
the teacher must ask the students to move the chairs to the center of the
classroom, away from the walls. This part of the lesson may get noisy, as
everyone pushes the metal chairs across the floor, so the teacher must remind
students to try to do it quietly. And quickly—students sometimes like to use
transition times to waste class time, socialize, and otherwise not focus.
Materials:
1. 14 pictures from the Romantic period, from various artists, pulled off of
various sites on the internet (on google.com, I typed in “Romantic Period
Paintings” and selected random paintings); display these on Poster boards,
posted throughout the room.
2. Post-It notes.
3. 14 blank sheets of paper with the title of a different painting/artist at the
top (one paper for each painting). This will be for the teacher to transfer
the post-it notes on to, to look at the students’ comments later.
--Teacher’s background information is based on the following source:
A Guide to the Study of Literature: A Companion Text for Core Studies 6,
Landmarks of Literature. Brooklyn College, 12, Feb. 2009.
Accessed 18 December 2010. <<http://academic.brooklyn.
cuny.edu/english/melani/cs6/rom.html>>
Objectives
Strategy Objective:
The student will be able to write and discuss his/her emotional and critical
response to Romantic period art, citing information/facts learned from the
previous lesson on the Romantic period.
The student will be able to point out themes and values of the Romantic period
based on observations about the paintings and artists, pointing out similarities
and differences.
Content Objective:
The student will discuss observations about the Romantic period paintings
presented both orally and in written format (post-its), responding to at least 10
out of the 14 paintings.
68 minute period.
Instructional
Procedures
Opening: 10 minutes.
1. Have the students walk in and take a seat.
2. The teacher must activate the students’ prior knowledge (about the themes
in Romantic Literature—learned the day before): Discuss with the students
the themes and values of the Romantic period. Students can call out the
answers. (3 minutes)
3. “Today we will be looking at art from the Romantic period. Can anyone
guess why art could be important to study when trying to understand
people from another time period? What can art tell us? Can anyone give
some examples?” Discuss in class. (3 minutes)
4. “Just like the literature in this time period, Romantic period art pushed predetermined boundaries. In a way, it was a form of rebellion against rules
and structure. Artists in this time period drew inspiration from themselves
and their emotions. In fact, some artists were either inspired by poems or
literature they read, or were writers themselves! Contrary to the common
perception of the word ‘romantic’ where one might think of pretty pinks,
yellows, and other pastel colors, paintings of this time actually contain
many dark and melancholy colors. The paintings you are about to study are
famous ones that are commonly known to be from the Romantic Era. As
you look at each painting, put yourself in the artist’s place and try to feel
the emotions that went into the work.” (4 minutes).
Engagement: 48 minutes
1. Explain the directions for the art walk to the students: “This exercise
is called ‘Art Gallery’. You will be walking around the room,
looking at the different pieces of art. Each picture has a prompt
question to help you think about the picture. After spending about
three to four minutes or so really analyzing the picture, write down a
response on the post it and stick the post it on the poster board before
moving on to the next picture. Make sure you put your name on the
BACK of the post it note, as I will be collecting these at the end of
the period so I can read everyone’s comments. At the end of the
period we will go over what you noticed about these paintings:
common themes, how it makes you feel, what you think the artist felt
at the time, what you think of the use of color or brush technique,
etc. Feel free to discuss the pictures with each other if you are at the
same painting, but make your response your own. And try to spread
out—four people to a painting at a time, please. Try to get to most of
the paintings, if you can, but do not worry if you do not get around to
all of them. Try to respond to at least 10 out of the 14, though you
should have enough time to get to all of them. Any questions?” Take
students’ questions. (5 minutes).
2. Ask the students to move their chairs to the middle of the classroom,
so they are not in the way as the students walk around. (2 minutes).
3. Begin the art walk. As the students are walking around, the teacher
should walk around and listen in on the students’ conversations—
making sure they are on track and to engage in conversation about
the paintings! (39 minutes).
4. Have the students re-arrange the desks at the end (back in the rows).
(2 minutes).
Closure: 10 minutes.
5. As a class, discuss students’ responses. May focus on one particular work
that the class found interesting, or talk about the similarities/differences of
the paintings in general. Teacher must maintain the focus that:
--nature was a major focus. Its vastness, ability to purify, and symbolic of
innocence were common portrayals. Simple, yet grand and beautiful… a
beauty uninfluenced by man.
--sometimes the artists used Biblical/literary topics for their work, but gave
it their OWN interpretation.
--The romantic movement for art expanded past the movement in literature,
so that is why impressionist paintings, etc. are so heavily/closely influenced
by this era.
--gothic paintings were an exploration of the supernatural: in other words,
artists’ imagination.
--many artists influenced by the many wars that plagues the late 17th-mid
18th centuries. That is why some portray gory or “angry” scenes.
Assessment
6. “Tomorrow, we will look at music from the Romantic period. Music is also
a way for people to express themselves and their emotions.”
7. Have some student volunteers collect the post its on appropriately labeled
papers for the teacher to look at,
 Informal:
As the students walk around, the teacher will listen in on conversations to
track interest, misunderstandings, etc. (formative assessment).
The students will discuss their responses with their peers, both during the
art walk and during the large group class discussion.

Formal:
There will be no overly complicated formal assessment for this lesson, as I
simply want the students to experience the art or this period. The teacher
will track student participation and engagement through the post-it note
comments. Only a class participation grade will be given out for the
comments.
The following is a list of the paintings the students will be studying. Each painting will be enlarged onto
an 8.5”x10” piece of paper, printed, and mounted onto a large poster board:
The Salve Ship_William Turner_1872
The Death of Sardanapalus_Eugène Delacroix_1826
Eugène Delacroix. Liberty Leading the People (28 July 1830)
John Constable - Helmingham Dell 1825
The Nightmare by Henry Fuseli. 1782
The Shepherd's Dream by Henry Fuseli 1793
Silence,by Henry Fuseli. 1799
The Body of Abel Found by Adam and Eve by William Blake. 1825
Newton by William Blake. 1795
Graveyard by Caspar David Freidrich.
The Wanderer Above the Sea of Fog by Caspar David Friedrich in 1818
The Rising of the Lark by Samuel Palmer
Mrs. Richard Brinsley Sheridan by Thomas Gainsborough
Francisco Goya
Olga Goretoy’s Lesson Plan #3
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs’GSEs:
National Content
Standards:
Generates a personal response to what is read through a variety of means…
“A Beautiful Nightmare: An Exploration of the Evolution in Music and Values
during the Romantic Era”
R–10–16
R–10–16.1 Comparing stories or other texts to related personal experience, prior
knowledge, or to other books
NCTE/IRA:
3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other
readers and writers, their knowledge of word meaning and of other texts, their word
identification strategies, and their understanding of textual features (e.g., sound-letter
correspondence, sentence structure, context, graphics).
9, Students develop an understanding of and respect for diversity in language use,
patterns, and dialects across cultures, ethnic groups, geographic regions, and social
roles.
11. Students participate as knowledgeable, reflective, creative, and critical members of a
variety of literacy communities.
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
Opportunities
to Learn
Definition:
The students will already have had an introduction to some of the music and
values of the Romantic period in the power-point lecture from Lesson 1. While
most of these students listen to music, not many actually play an instrument or
are even familiar with classical music; this is where the videos (visual stimulus)
will help buffer the cultural differences and gaps. This lesson is the last part of
the introduction of the students to the Romantic period. After this lesson, they
should have enough background knowledge to know what to expect from
reading A Tale of Two Cities (which they will begin the next lesson) and be able
to intellectually analyze the text by drawing on what they learned from the past
three lessons.
Plans to differentiate instruction:
Auditory: The lesson includes listening to and analyzing music, which these
students will enjoy.
Kinesthetic: The lesson requires students to study the movements of the
musicians, connecting the differences in movement to the differing styles of the
Materials, Learners
and Environments
differing periods.
Spatial/Visual: Videos are part of this lesson. Students will have something to
look at as they try to connect with and understand the music presented.
Intrapersonal: Students have to come up with their own answers during the class
discussion. Each student will be personally and individually responsible for
participating and contributing to the conversation.
Interpersonal: The class will discuss the music/videos out loud, giving these
students an opportunity to learn from their peers and respond to each other—in
an academic context.
Accommodations and modifications:
To accommodate linguistic learners, I will allow students to take notes while we
are watching the videos. This will help them to keep track of what they are
learning (they will remember better this way, and so be able to better participate
in the discussion afterwards). This way, they will not need to worry about
forgetting a what they wanted to say about something.
In case there is a student with a hearing problem, the teacher must make sure to
set the appropriate volume for each video—loud enough for everyone to hear,
but not so loud so as to disturb the other classes. The volume may need to be
adjusted for each video, depending on the recording quality of the video and the
quality of the classroom’s computer or ELMO speakers.
Environment factors:
The teacher needs to make sure the music is not too loud. Check the appropriate
volume setting before class, perhaps. The computer (from which the videos will
be played) is also away from the attention of the students (it is on the side of the
classroom); the teacher needs to keep in mind that playing/stopping the videos
will require the teacher to walk away from the view of the students, possibly
causing a momentary loss of focus in the classroom. This may cause the
students to get noisy. So, the teacher must plan accordingly: speak while
walking to/from the computer, to keep the students concentrated.
Materials:
1. Videos from YouTube:
kacharov. “Paganini- Caprice no. 24, Alexander Markov, violin
[HD}”. YouTube, . Accessed 18 December 2010. <<>>.
Nantsingonyama. “Fantasia 200 (HD) – Pomp and Circumstance”.
YouTube, 22 October 2010. Accessed on 18 December 2010. <<
http://www.youtube.com/watch?v=SgruNJP0Rrc>>.
stringflamer. “Apap, amazing cadenza”. YouTube, 21 February 2007.
Accessed
18
December
2010.
<<http://www.youtube.
com/watch?v=e4NaTLp4n5c>>.
Objectives
2. ELMO projector, to use to play the videos from the computer and project
the videos on the board.
3. Computer/lap-top.
Strategy Objective:
The student will be able to compare and contrast values before and during the
Romantic period by examining the evolution of music, and then predict what we
might come across in literature from the same time period.
Content Objective:
The student will watch two videos—one before the Romantic Movement and
one during—and offer at least one comparison/contrast of the styles of the
music/musicians, linking the similarity/changes to what he/she learned from
previous lectures with 70% accuracy.
35 minute period.
Opening: 5 minutes.
Instructional
Procedures
1. Opening question/discussion: “What kind of role does music play in your
lives? (it reflects and affects emotions and experiences). What kind of
music is considered controversial or ‘new’ during this age? (women
rapping, digital sounds, “Dragonflies” song, etc).”
2. “Music has always been a major part of people’s lives and ways of
expressing themselves. By studying music, we can also get a better
understanding of the mood and values of a time period. ”
Engagement: 25 minutes.
1. “Today we will be learning about the music of the Romantic period. We
have mentioned that this time dealt with breaking from molds, rules, and
structures of the previous time. But what did this ‘revolution’ look like?
Let’s look at a comparison of how music was played before the Romantic
period, and what music looked like during this movement. Who is familiar
with Mozart?” Wait for hands. “Mozart was a popular composer of
classical music, before the Romantic period. Let’s see how his music is
played.
2. Show “Apap, amazing cadenza” from YouTube. Discuss what the
students notice about the composition. Point out fluidity of
movement, and “say and response” type of pattern (plays among an
orchestra).
3. “Now we will look at Paganini’s violin caprice. Paganini composed
during the Romantic Movement and was considered quite a
controversial violinist because he was so different. Let’s listen to his
music and compare how it is performed.”
4. Show “Paganini- Caprice no. 24, Alexander Markov, violin [HD]”
from YouTube. Discuss the differences with the students. Accept
their answers. Point out the violin’s ability to stand alone (Romantic
idea of emphasis on individual), and aggressive technique (Romantic
era allowed to show full spectrum of emotions), and that aggression
is beautiful (he “romanticizes” the idea of aggression).
“There was a strong emphasis on breaking away from rigidity and
focusing more on the individual and emotions.”
6. “There were many marches that were composed during this time, as this era
was war-ridden. These marches were meant to inspire during a difficult
time. However, modern uses of the marches have been slightly altered.
Who is familiar with Elgar’s Pomp and Circumstance (the graduation
song)? This was meant to be a military march, but now people use it for
graduations. Why might this be appropriate, considering Romantic views
about individuals?” Take student answers.
7. In 2000, Disney came out with another Fantasia movie. They use Pomp
and Circumstance to be the background music in a story about the Flood. I
want you to think about how this music is associated with such a tragic
event such as the Flood. What is romanticized in this interpretation of
Elgar’s work? How?”
8. Show “Fantasia 2000 [HD] – Pomp and Circumstance” from YouTube.
After, discuss with the students answers to the questions posed in step 7.
5.
Closure: 5 minutes.
1. “As you can see, this song is often used to represent happy
occasions, where Elgar originally created it for solemn events. And
in Disney’s representation, we see some a combination of Elgar’s
intention and Romantic ways of thinking: a really tragic and solemn
event is portrayed with this music. However, in the midst of the
tragedy and sad moments of this movie (and in the music!) we see
humorous events, beautiful shots, and most importantly a sense of
hope at the end. What musicians did with music, Charles Dickens did
with literature. Charles Dickens is an author whose work we will be
reading soon; he is a master of portraying an artistic and almost
beautiful side to a dismal setting or situation—in true Romantic
fashion! Tomorrow we will start reading A Tale of Two Cities by
Charles Dickens. This book is a tale about revolution, trials, haunting
pasts, and evil. But, at the same time it is about hope and rebirth. As
Dickens leads us through the misery the characters go through, his
use of the language is unique and amazing, making any situation
beautiful in its tragedy though his powerful command of the English
language. Hopefully, as we read, you will not only begin to see the
common themes of the Romantic period that we discussed show up
in ATOTC, but also come to appreciate how Dickens romanticizes
his tragic characters and settings.”
Assessment

Informal:
Monitor student comprehension during class discussion (formative
assessment). Address any misconceptions or misunderstanding as during
the conversation/discussion.
Make sure students are paying attention while the video is playing.

Formal:
Keep track of student participation by marking a check next to his or her
name in the attendance book for the day.
Olga Goretoy’s Lesson Plan #4
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
Demonstrate initial understanding of elements of literary texts by…
“Introduction to Charles Dickens and A Tale of Two Cities”
R–10–4
R–10–4.4 Identifying the characteristics of a variety of types/genres of literary text
R–10–7.2 Using information from the text (notes given by teacher) to answer questions; to state
the main/central ideas; to provide supporting details; to explain visual components supporting the
text; or, to interpret maps, charts, timelines, tables, or diagrams
R–10–7
Demonstrate initial understanding of informational texts (expository and practical
texts) by…
R–10–7.3 Organizing information to show understanding or relationships among facts,
ideas, and events (e.g., representing main/central ideas or details within text through
charting, mapping, paraphrasing, summarizing, comparing/contrasting, outlining)
R–10–12
Demonstrates ability to monitor comprehension and strategy use for different
types of texts and purposes by…
R–10–12.1 Using a range of self-monitoring and self-correction approaches (e.g.,
rereading, adjusting rate, sub-vocalizing, consulting resources, questioning, using
flexible note taking/mapping systems, skimming, scanning)
NCTE/IRA:
1. Students read a wide range of print and non-print texts to build an
understanding of texts, of themselves, and of the cultures of the United
States and the world; to acquire new information; to respond to the needs
and demands of society and the workplace; and for personal fulfillment.
Among these texts are fiction and nonfiction, classic and contemporary
works.
2. Students read a wide range of literature from many periods in many genres
to build an understanding of the many dimensions (e.g., philosophical,
ethical, aesthetic) of human experience.
3. Students apply a wide range of strategies to comprehend, interpret,
evaluate, and appreciate texts. They draw on their prior experience, their
interactions with other readers and writers, their knowledge of word
meaning and of other texts, their word identification strategies, and their
understanding of textual features (e.g., sound-letter correspondence,
sentence structure, context, graphics).
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
Opportunities
to Learn
Definition:
Materials, Learners
and Environments
This is the fourth lesson in the Romantic Unit. Previous lessons have been made
to build students’ background knowledge of the Romantic period. Now,
students will be introduced to Dickens. Since most students find his lengthy
pieces tiring or difficult to understand, this lesson will focus on making the
reading of his novel easier—including exploring the author’s own biography
and the context of the novel. The students will already have learned about the
French Revolution in their history class during first quarter, so a lot of time will
not be need to be dedicated to going over that. The students will also be getting
their A Tale of Two Cities books for the first time today.
Plans to differentiate instruction:
Auditory: Class discussion.
Spatial/Visual: The teacher will write the notes on the board, so they can see
what the teacher thinks is important to know. Also, the use of diagrams, graphs,
and bookmarks with important information will help the students monitor their
learning and organize the information they gain when reading the novel or
taking notes.
Linguistic: Writing down the notes will help these students remember the
important information. It will be a reference to them when it comes time to
study for the test.
Intrapersonal: Students will need to take personal responsibility for taking down
the necessary notes. The will also be asking for students’ personal experiences
with Dickens, in the opening of the lesson.
Interpersonal: Students will get a chance to work in groups for a portion of the
class.
Accommodations and modifications:
If some students (particularly those with ADHD) are having trouble focusing
and are being disruptive, the teacher can ask these students to help pass out
papers/books. This will let the student release some of his/her energy and also
be a non-verbal signal to them that the teacher is transitioning to a new activity.
Environment factors:
During group work, some controversy might exist as personalities clash in some
groups. If students are not able to cooperate after the teacher gives a verbal
warning, the teacher may split up group members.
Materials:
3. Venn Diagram, from :
Andree, Greg. “Handouts, Assignments, and Projects”. The Andree
Institute: Building Bridges to Common Ground. n.p. Accessed 19
December
2010.
<<http://www.andreeinstitute.com/
archivespages/handouts0809.html>>.
Objectives
4. “Characters List: A Tale of Two Cities” hand out for each student.
5. “Active Reading!” bookmark.
6. Copies of the following books by Dickens: Oliver Twist, Bleak House,
David Copperfield, A Tale of Two Cities (ATOTC), Hard Times, Great
Expectations, and Our Mutual Friend
Strategy Objective:
The student will be able to make inferences about the Romantic period, citing
facts from their notes and his/her reading of the first chapter of A Tale of Two
Cities.
Content Objective:
The student will take notes on Charles Dickens’ biography and context of the
novel, A Tale of Two Cities, completing a Venn Diagram and drawing
inferences from the information in the diagram based on his/her notes, with
80% accuracy.
68 minute period.
Opening: 7 minutes.
Instructional
Procedures
1. Opening question: “Who here has heard of someone named Charles
Dickens?” Wait for hands. “Can you tell me anything about him? The idea
that he writes long novels might come up. Show the class a few examples
of his novels (all the books listed in the “Materials” section of this lesson—
except A Tale of Two Cities. Ask students what they notice about the books
just by looking at them (they are lengthy!). Ask them to predict what A
Tale of Two Cities might look like, then (the same: also long). Show them
the book. Students might groan or complain.
2. “I know some of you might be nervous about reading this book. But do not
worry. We will learn how to read Dickens in a way that not only makes
sense, but in which you will actually be able to connect to and make
meaning from. Today we will get most of the materials we need to start
exploring Dickens, and his romantic portrayals of people, settings, and
events.
Engagement:
1. Tell the students they will be taking notes, so they must take out a piece of
paper to write on.
2. Go over the notes on Dickens’ Biography and the Context of ATOTC with
the students (both notes are included at the end of this lesson plan). The
teacher will copy the notes on the board. When going over the history of
the French Revolution, have students discuss what they remember from
history class (first quarter), and then fill in what they might have forgotten.
(15 minutes).
3. Transition to thinking about ATOTC: “Dickens was very good at
developing interesting characters. Through these characters we will be able
to explore Romantic values and situations that affected the history of this
time period (rebellions—physically and in literary/artistic movements). But
Dickens is also known for including MANY characters in his stories. How
will we be able to remember all of them? When I read Bleak House in
college, I found that keeping a list of characters handy as a ready was very
helpful. I will give you your own character list where you will keep track of
the different people you come across in ATOTC.
4. Pass out “Character List: A Tale of Two Cities” handout. Go over how to
fill this out with the students. Tell the students we will start filling out this
diagram next class. (5 minutes).
5. Pass out “Active Reading!” book mark to students. They will use sticky
notes to keep track of these literary elements as they read. (5 minutes).
6. Transition: “Ok, now we will actually begin reading some of Charles
Dickens’ ATOTC.” Pass out the books to the students. Read Chapter 1
aloud with them. The teacher should read this time, instead of having the
students volunteer, so students can hear the language of Dickens. (10
minutes).
7. With the remaining 21 minutes, the students will be doing group work to
look at the time period Dickens is describing. Have the students get into
groups of 4 (have students count off by 5). After they are in their groups,
pass out the Venn Diagram. Student should complete the diagram based on
what they read about France and England in the first chapter. As the
students are working, the teacher should walk around, monitoring students’
progress and answer questions. This part should take 10 minutes. The other
11 minutes will be going over the diagram as a class, with each group
contributing one fact about France and one fact about England, or a
difference between the two. The teacher should remind the students to fill
in any information they missed in their own diagrams. As the students fill
in the information, the teacher should point out that perceptions of the cities
is negative, with corruption and anger in both. In the end, ask them open
questions: “What do you think: is it possible for people to redeem
themselves? Can good be found in bad, and vice versa, or are there clearcut lines between what is good and bad?”
Closure: 5 minutes.
1. “I hope that from today’s lesson that you all feel more confident about
studying Dickens. We will structure our reading of ATOTC so that we can
keep track of everything that goes on in Dickens—plot wise, and also as we
study the Romantic period.”
2. Thoughts to leave the students with as they continue to read ATOTC:
--How is this novel reflecting or portraying Romantic values?
Assessment
3. Tell the students to read chapter 2-4 for homework for next class.
 Informal:
The Venn diagram exercise will give the teacher an understanding of the
students’ comfort with the language in the novel (if they are able to
comprehend the novel, they will be able to complete the diagram).

Formal:
After Lesson 6 (the students will have a few days to work on a research
paper with the CT, so time will not be focused on ATOTC but students will
still be in class), the ST will collect the Character List and books for a quiz
grade, making sure students are keeping up with their notes on the book and
picking up on important literary elements in the book.
Notes for students:
Charles Dickens: (1812-1870)













Born February 7, 1812 in Portsmouth, Hampshire, England.
Parents were Elizabeth and John Dickens.
Seven siblings—he was the second oldest.
Dickens loved his childhood. He read a lot, went to school where he was a good student, and
acted and put on plays and readings with his siblings, filling his imagination.
Father had bad spending habits that forced the family to go into debt in 1824.
At the age of 12, Dickens had to go to work at Warren’s Shoe Blackening Factory.
o The working conditions were difficult: long hours, poor pay.
o It was tramatizing for such a young boy to be away from his family and parents all the
time, working as an adult. The surrounding adults had no sympathy for
abandoned/orphaned children (since there were so many).
o He would use this experience as inspiration for many of his later works.
Became embittered towards his mom when his father was release from debtor’s prison (after
earning an inheritance) and she insisted Dickens still work at the factory.
1827: Dickens had to drop out of school because of more financial problems and started to work
at a law firm where he learned shorthand and eventually becamea court reporter.
1833-1835: starts to contribute short stories to a magazine.
1836: becomes editor of a magazine in which he contributes serials of his books regularly.
1836: married Catherine Hogarth. They had 10 children.
Known for exxaggerated and vibrant characters, mastery of prose, and his exploration of the
social classes and values of the time.
Some of his famous works:
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Oliver Twist 1837-1839
Nicholas Nickleby (1838-1839)
The Old Curiosity Shop (1840-1841)
Barnaby Rudge (1841).
A Christmas Carol (1843)
The Chimes (1844)
The Cricket on the Hearth (1845)
The Battle of Life (1846)
The Haunted Man (1848).
David Copperfield (1850)
Bleak House (1853)
Hard Times (1854)
A Tale of Two Cities (1859)
Great Expectations (1860-1861)
Our Mutual Friend (1864-1865).
INFORMATION GOTTEN FROM:
C.D. Merriman. “Charles Dickens”. The Literature Network. Jalic Inc., 2006. Accessed 19 December 2010.
<<http://www.online-literature.com/dickens/>>.
(Notes continued…)
Context of ATOTC:

Industrial revolution going on in Europe: from rural businesses to factory, mass-scale
production. People flooded to the cities in search for work. This meant an increase in the
available workers for the bourgeoisie, allowing them to keep wages low. As a result, the poor
stayed poor and the rich stayed rich.
 Revolutionary period in France.
o Storming of the Bastille (July 14, 1789).
o September Massacres (September 2-6, 1792)
o Reign of Terror (1793-1794)
Taken from :
“Discovering Dickens: A community Reading Project.” Stanford University, 2004. Accessed 19 December
2010. << http://dickens.stanford.edu/archive/tale/historical_context.html>>.
Character List: A Tale of Two Cities
One of the trademarks of Charles Dickens’ work is a vast list of characters. As different personalities and
backgrounds come together in one book, the story becomes colorful and interesting! Keep track of the
characters you come across in the following chart. Record everyone, even if they seem insignificant at
the time. You would be surprised when Dickens might mention or bring back the character!
Notes
Character Name
(Physical description, characteristics, relationships, important events that
happen to him/her, etc.).
BOOKMARK: (print, cut out, and laminate for each student).
Active Reading!
Make CONNECTIONS to your life, your
world, and other works.
Infer CHARACTER traits for major
characters.
Identify CONFLICT, CLIMAX,
RESOLUTION.
Select SETTING descriptions that
contribute to the MOOD.
Identify major THEMES (particularly
towards the end of the novel).
Indicate changes in POINT OF VIEW.
Identify major SYMBOLS.
Note literary devices:
IRONY
FORESHADOWING
FLASHBACK
ALLUSION…
Ask QUESTIONS.
Make PREDICTIONS.
England
*This will be printed in landscape orientation for the students.
France
Olga Goretoy’s Lesson Plan #5
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
Students demonstrate command of the structures of sentences, paragraphs, and
text by…
“The Horror? Exploring the Benefits and Downfalls of Comma Splices”
W–10–1
W–10–1.1 Using varied sentence length and structure to enhance meaning (e.g.,
including phrases and clauses).
W–10–1.3 Recognizing organizational structures within paragraphs or within texts.
W–10–1.4 Applying a format and text structure appropriate to purpose, audience, and
context
W-10-9
In independent writing, students demonstrate command of appropriate English
conventions by…
W–10–9.4 Applying appropriate punctuation to various sentence patterns to enhance
meaning
NCTE/IRA:
9. Students develop an understanding of and respect for diversity in language use,
patterns, and dialects across cultures, ethnic groups, geographic regions, and social
roles.
11. Students participate as knowledgeable, reflective, creative, and critical members of a
variety of literacy communities.
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
Opportunities
to Learn
The students have been taught clauses—independent and dependent—in the
beginning of the year. Today, they will be able to use that knowledge to
understand comma splices. This lesson will only be a part of the whole 68
minute class period. The students will have read chapter 1 in the previous
lesson, so they will be familiar with the context of the paragraph being studied
today. After this lesson, students will continue their discussion of chapters 2-4
of ATOTC, which they were assigned to read for homework. They will also be
able to apply this grammar lesson to their research paper, which the CT is
studying with them simultaneously with this unit.
Plans to differentiate instruction:
Auditory: Class discussion. Directions for activities will be given orally, and
any written material will be gone over out loud.
Definition:
Materials, Learners
and Environments
Kinesthetic: Students will have a slight chance to relieve their need to move
around during the group work, when they will need to move their desks together
during group work.
Spatial/Visual: A copy of the first chapter will be displayed on the ELMO for
the students to look at as the teacher goes over the lesson. As the teacher marks
up the independent clauses and the antonyms on the paper, the teacher could use
different colored pens (red for clauses, and green for antonyms, for example) to
make different points/observations.
Linguistic: This lesson will require students to study how language and its
conventions are used.
Intrapersonal: Students will need to come up with their own sentences at the end
of the lesson. Asking students what they personally learned, during the closing,
also requires the students to analyze their own thinking and learning.
Interpersonal: Partner work at the end. Students also get to hear each others’
thinking processes, and respond, during the class discussion.
Accommodations and modifications:
To accommodate students who do not have many friends in the class or who
have difficulty socializing—or even just intrapersonal learners—the teacher will
make the partners FOR the students. Walking around as students are working
also gives students personal attention, in case someone is afraid to ask a
question in front of the whole class. This is also a good way to monitor
students’ work, making sure they stay on-task.
Environmental factors:
The ELMO projector hangs from the ceiling of the classroom and the “ON”
button may be difficult for the teacher to reach during the lesson. So, the teacher
must either turn the projector on before class starts (by climbing on a desk) or
ask a tall student to turn it on as the students walk in at the beginning of the
period.
Materials:
1. Student example of a comma splice, taken from one student’s essay (I do
not have the copy with me now; before presenting this lesson, I will go
over past student essays and look for one example).
2. Printed copy of the first paragraph of ATOTC. This will be projected on the
ELMO.
3. Two differently colored pens.
4. ELMO machine, or other projector.
Lesson adapted from information from:
Fogarty, Mignon. “Grammar Girl: Comma Splice”. Quick and Dirty Tips:
Helping You Do Things Better. 24 June 2010. Accessed on 19
December 2010. <<<http://grammar.quickanddirtytips. com/comma-
splice.aspx>>.
Objectives
Strategy Objective:
The student will be able to recognize a comma splice, use comma splices
intentionally, and fix an unintentional comma splice when editing writing
(his/her own writing or otherwise).
Content Objective:
The student will study correct and incorrect uses of comma splices via student
examples and excerpts from Dickens’ first paragraph of chapter one from
ATOTC, and re-write a given sentence with 100% accuracy.
30 minute lesson (around).
Opening: 5 minutes.
Instructional
Procedures
1. Show the students an example of a comma splice (taken from one of the
students’ essays; do not mention who it is from). Ask the students to read it
and see if there is anything wrong with it. Lead them to see that it is a runon sentence, and that the independent clauses are not connected by
conjunctions. “This is a ‘comma splice’. Here, two independent clauses are
separated by a comma but have no subordinating conjunction in-between.
This can make the meaning of the sentence confusing sometimes and
difficult to keep track of. Lead the students to agree that this sentence is
wrong and needs to be changed. Do not actually change the sentence, yet.
2. Show the students the first paragraph of chapter 1 in ATOTC. Ask the
students what they observe going on in this paragraph. Students will realize
that comma splices are used by Dickens. Point out that this run-on sentence
actually makes sense, right? Why is that? Some may ask why it is ok for
Dickens to use comma splices, but they get down-graded for using them.
“That is a really good question! Today we will be learning more about
comma splices. Some people think they are really bad to use, while others,
as you can see from Dickens’ example, use comma splices to create an
effect when they are writing. So how can we use comma splices
‘correctly’? Let’s take a closer look.”
Engagement: 20 minutes.
1. “First, let’s look at what Dickens is trying to do with his comma splices.
Help me find all the independent clauses in this paragraph.” Call on
students to identify the clauses. Underline them (in one color) on the paper
(using the ELMO) as the students call out the answers. Once the clauses are
underlined, ask the students to see if there is any kind of pattern going on in
the sentence. Students should be able to pick up on the fact that antonyms
are used (“It was the best of times, it was the worst of times,” etc.).
Underline these comparisons (use a different color). Ask students, “What
kind of message do you think Dickens is sending by connecting all of these
ideas with commas, as opposed to separating them by periods?” Lead
students to the realization that these ideas ironically co-existed during the
same time, so they co-exist in the same sentence; using commas allowed
Dickens to sound poetic about the times—a trait common in Romantic
period literature (making a terrible thing or situation sound beautiful in the
2.
3.
4.
5.
transcription of it). Also, the times that we will be reading about are
chaotic, and this opening sentence is chaotic, foreshadowing the rest of the
novel. Basically, Dickens used comma splices intentionally, for effect. (7
minutes).
“When you come across comma splices or run-on sentences in your own
writing, considering you are not using it to create an effect—and you can’t
use them for effect often, or the effect will be lost!—there are several ways
that you can ‘fix’ the comma splices. You can do this by adding a semicolon, a period, or a comma with a conjunction between the two
independent clauses. Go back to the student example. Ask the students to
find at least two ways to revise the sentence so it does not have a comma
splice in it. Have 2-3 students volunteer their answers after everyone is
done. Write the answers on the board. (5 minutes).
(Steps 3&4 will take about 8 minutes). The students will now create their
own Dickens-like sentence. “Writing long sentences intentionally is
actually pretty difficult. Remember, the difference between a run-on
sentence or incorrect comma splice and a well-crafted sentence or correct
use of comma splices is that the right sentences are easy to understand. You
can tell when you used too many commas or conjunctions when the focus
of the sentence is difficult to identify or follow.” Have the students follow
the criteria below:
--construct a paragraph using one sentence. The sentence must have at least
five commas, one semicolon, and one period. The sentence must also have
at least seventy words. Students may use the pattern Dickens uses, but they
must remember: it must be intentional… it cannot be just a random list of
comparisons.
After the students finish, have them share the sentence with the person next
to them, editing each other’s sentences. Encourage students to change a
wrong sentence and/or offer advice to someone about how to edit a
sentence.
Collect the student examples (These will not be graded, but assessed for the
amount of student understanding and quality of the lesson).
Closure: 5 minutes.
Assessment
1. The teacher asks the students, “What did we just learn? What points stuck
out to you the most?” Wait a moment for students to collect their thoughts,
and allow them to answer. Encourage students who have not been
contributing to previous discussions to volunteer answers now.
2. “Keep this information in mind as you write future papers and essays.
When you find yourself using too many commas in a sentence, or if you reread a sentence aloud and put a pause where no punctuation is, consider
how you can revise that sentence. Revision not only hones your skill as a
writer, but it clears up confusing parts for your reader. Less confusion
allows for more understanding!”
 Informal:
The teacher will ask the students to revise a given sentence with comma
splices, and then share with the class, after learning about how to edit such
sentences.
Additionally, asking the students what they learned is a way to get students
to think about their learning and reflect on it. It is also a way for the teacher
to assess what points the students picked up on really well, and what needs
some more reminders/work (the points that the students do not bring up).

Formal:
The teacher will collect the student examples of sentences with comma
splices (though these will not be graded). The students will be responsible
for applying the knowledge learned from this lesson to all future essays.
A Tale of Two Cities by Charles Dickens, Chapter One, Paragraph 1:
It was the best of times, it was the worst of
times, it was the age of wisdom, it was the age of
foolishness, it was the epoch of belief, it was the
epoch of incredulity, it was the season of Light, it
was the season of Darkness, it was the spring of
hope, it was the winter of despair, we had everything
before us, we had nothing before us, we were all
going direct to Heaven, we were all going direct the
other way—in short, the period was so far like the
present period, that some of its noisiest authorities
insisted on its being received, for good or for evil, in
the superlative degree of comparison only.
Olga Goretoy’s Lesson Plan #6
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
“Simple Symbols or Skillful Comparisons? A Closer Look at the Use of
Symbolism in Chapter 5 of ATOTC”
R–12–4
Demonstrate initial understanding of elements of literary texts by…
R–12–4.5 Identify literary devices as appropriate to genre (e.g., similes, metaphors,
alliteration, rhyme scheme, onomatopoeia, imagery, repetition, flashback,
foreshadowing, personification, hyperbole, symbolism, allusion, diction, syntax, bias, or
point of view)
R–12–5
Analyze and interpret literary elements within or across texts, citing evidence
where appropriate by…
R–12–-5.1 Explaining and supporting logical predictions or logical outcomes (e.g.,
drawing conclusions based on interactions between characters or evolving plot)
NCTE/IRA:
3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other
readers and writers, their knowledge of word meaning and of other texts, their word
identification strategies, and their understanding of textual features (e.g., sound-letter
correspondence, sentence structure, context, graphics).
4. Students adjust their use of spoken, written, and visual language (e.g., conventions,
style, vocabulary) to communicate effectively with a variety of audiences and for
different purposes.
6. Students apply knowledge of language structure, language conventions (e.g.,
spelling and punctuation), media techniques, figurative language, and genre to create,
critique, and discuss print and non-print texts.
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
The homework assignment from the previous night was for the students to read
chapters 5 and 6 of ATOTC. Dickens introduces many symbols in these
chapters, so that is what today’s lesson will focus on. The students will have
read the books that the teacher will refer to in the opening (either in this class,
or the previous year), enabling students to understand the examples the teacher
gives. The class discussion portion of the lesson should not be too much of a
challenge for these students, as this is the way the CT has structured much of his
lessons on previous novels/texts. After going over the symbolism in chapter 5
(this lesson), the class will continue to have an informal discussion about
chapter 6 (not part of this lesson on symbolism) where the class will go over
a series of lessons?
Opportunities
to Learn
Definition:
Materials, Learners
and Environments
important quotes and plot points. At the end of the lesson, the teacher will
collect students’ books and character lists for a quiz grade; the teacher will be
looking to make sure students have been keeping up with writing post-its to
mark significant spots in the book… including the symbolism talked about in
today’s lesson.
Plans to differentiate instruction:
Auditory: Students will get a chance to talk/listen during class discussion. Some
of chapter 5 will be read aloud, too, which may help these students pick up on
important words/patterns (like the repetitive use of the words “wine” and
“stain”).
Kinesthetic: Students who like to move around will most likely enjoy
participating in the acting part of the lesson. Otherwise, the students will benefit
in watching others move around and act.
Spatial/Visual: These students will like the visual stimulus of watching others
act, thus being able to understand the lesson better (they will be able to recall
the funny acting). The scene we will read in chapter 5 will also be full of
imagery and symbolism, allowing students to get a visual (mental)
representation of the impending chaos of the French Revolution.
Linguistic: We will be studying literary elements today—symbolism—and
looking for them in the book. We will also be reading from ATOTC.
Intrapersonal: Class discussion will allow these students to respond to peers’
thoughts.
Interpersonal: Each student will have his/her own copy of the book with which
to follow along with the reading in or mark his/her own important spots/points
in with post-it notes.
Accommodations and modifications:
All types of students are accommodated in this lesson. The teacher will give a
sufficient amount of structure to keep everyone on the same page by: giving
verbal cues for directions and transitions, including all types of learners in the
lesson, and allowing different talents to shine through in the different
components of the lesson.
Environment factors:
The chairs the students usually sit in are attached to desks. This may allow less
room for the actors to move around as they act out their scene. to allow for more
room, let the actors either sit on top of the desks (allowing everyone to see
better, too) or have the actors sit in the teacher’s chair (which will be moved to
the front of the class).
Materials:
Objectives
 Chair at the front of the classroom.
 ATOTC books (students should bring their books to class every day).
 Post-it notes.
Strategy Objective:
The student will be able to make inferences about the use of various symbols
and symbolism in Dickens’ ATOTC, using that information to better understand
the text.
Content Objective:
The student will identify at least one symbol Dickens use, after re-reading
chapter 5 of ATOTC, and make a prediction of what this symbol foreshadows
about the French Revolution.
41 minute lesson.
Opening: 5 minutes.
Instructional
Procedures
1. Activate students’ background knowledge about symbols and symbolism in
literature. Students should be able to answer the following questions and
participate in the discussion: “Can anyone give me an example of a
symbol?” Students might bring up the American flag, a heart, or a storm.
Discuss what these symbols might stand for. “Can anyone explain what
symbolism is, then?” Lead students in the direction that it is an extended or
repetitive use of a symbol (in literature). The teacher may bring up the
example of bats in Dracula, the tiger in The Life of Pi, or poison in Romeo
and Juliet.
2. “Ok, so it seems that everyone has a pretty good understanding of
symbolism and what symbols are. But why should we be concerned with
how writers use these symbols? I want you to go beyond simply restating
the facts that, ‘Oh yea, this author used such a symbol to represent
whatever’ and leave it as an announcement rather than a revelation. We
will be exploring symbolism today.”
Engagement: 31 minutes.
7. Game with the students: “Guess What I’m Doing?”
8. Have three students volunteer to act something out (the teacher will tell
them what they need to act out soon). Send the three students into the
hallway.
Tell the rest of the class that the other three students will act something out
and the class has to guess what they are acting out. However, while the
actors will think they are acting something else out, we will be
interpreting—or reading—their actions differently. The first actor will
pretend he/she is a sleepy driver, the second actor will pretend he/she is a
monkey, and the third actor will pretend he/she is making a pizza;
HOWEVER, the class will be interpreting the actions as if these actors
were getting ready to kiss someone. The actors will also be told they cannot
get out of their seat. The class must pretend to guess what the actor is
acting out, but tell the students to intentionally keep guessing the wrong
thing. Ask the students if they have any questions.
Next, go into the hallway where the three students are waiting and explain
to them that they each will be sitting on a chair in front of the class and
acting out a scene and they have to make the class guess what they are
doing. Tell the students to be as convincing and accurate with their
portrayals as possible, using facial expressions, sounds, etc. (but no
talking). Tell the students the three options (sleepy driver, monkey, or pizza
maker) and have them choose which scene they want to do. DO NOT
TELL THE ACTORS THAT THEIR ACTIONS WILL BE
INTERPRETED DIFFERENTLY BY THE CLASS. The sleepy driver
goes first, and then the others will follow later (while one person is going,
the others wait outside the door). (This whole explanation process should
take about 3 minutes).
9. Walk in with the first actor. Have the actor sit in the chair, facing the rest of
the class, and begin his/her scene. Give the whole scene around 3 minutes
to play out. Remind students to offer their (fake) guesses. The classmates
will most likely laugh. Meanwhile, the teacher should be taking notes on
when the students laugh the most and/or when the actions of the actor
mimic those of actually kissing someone (ex: holding the steering wheel is
like holding the person, etc.). Then, have the actor state what scene he/she
was acting out. Finally, tell the actor what the class was thinking during the
scene (that he/she was about to kiss a boyfriend/girlfriend). The class will
laugh more. Have the student sit back in his/her seat. (5 minutes).
10. Call in the next actor (the monkey scene). Repeat step 3 with this actor. (5
minutes).
11. Call in the last actor (the pizza maker). Repeat step 3 with this actor. (5
minutes).
12. After all of the students sit back in their seats, continue with the lesson.
“Symbolism is much more than deciding to use something else to represent
something just for the sake of being creative—although, remember that the
Romantic period valued creativity, especially in finding unique comparable
links between things. The author could actually be saying something really
clever about the comparison in the symbolism. Like the game we just
played. The action that was going on had one intention, but our ability to
read it differently made the situation funnier, right? The actors were told to
do one thing, but I told you that the action meant something else. Same
thing happens in literature. A symbol is created; it functions on its own and
plays its own role in the story, but if you are ‘let in on the joke’, then you
will look at the symbol in a new way and interpret it completely differently.
It is no longer a boring scene about a sleepy driver, but a guy being bored
with kissing his girl!” (2 minutes).
13. Remind students that inanimate objects are not the only things that can be
symbols; people and animals can also be symbols for ideas, feelings,
classes, etc.
14. “Let’s look at how symbolism is used in Dickens’ ATOTC. Now, I’m not
saying that symbolism is always used for comedic effects. What I want you
to realize is that you should search to be let in on the joke, so that way you
can look back at the places where that symbol is used and be able to say,
‘Ahhh! That is interesting what the author is actually saying here. I get it.’
There are many symbols in ATOTC, and we will be introduced to some of
them today.” Have students open up to Chapter 5 (1 minute).
15. Remind the students that the setting right now is in France, on the verge of
a revolution. Tell them to keep that in mind when reading the following
paragraphs. Read aloud the first 5 paragraphs: from “A large casket of wine
had been dropped and broken…” to “…and when the stain of it would be
red upon many there.” Call on 5 random students to read each paragraph. (5
minutes).
16. Ask students to paraphrase what happened, “So is going on here?” As a
class, talk about the symbolism of the wine (students should do a majority
of the talking): it represents the French Revolution, and the blood that will
be spilled in the streets as a result. The poor people are the ones who will
be both shedding (being killed) and smearing (killing) the blood. Point out
to the students that it says that everyone will be stained with it. Also talk
about the properties of wine (too much makes people drunk). Ask students
to verbally interpret these ideas; foreshadow/predict what will happen. (5
minutes).
Closure: 5 minutes.
1. Tell the students to keep these comparisons in mind, the next time they
come across wine in the coming chapters.
2. “Wine is not the only symbol we will come across in ATOTC. I may or
may not point out all of them. However, intentionally looking for symbols,
or at least reflecting on the most obvious ones, will not only enhance your
understanding of the text, but also expand your ability to make connections
between different things and ideas—thinking like Dickens! This will help
you become better writers yourselves.”
3. Remind students to make notes of the symbolism in their books (using
post-its), as this will be a great resource for them to use when they write the
research paper in March).
4. Questions?
***The following is not part of the symbolism lesson, but a continuing study
on chapter 5: Ask the students if they have any other points they want to talk
about in the chapter. Accommodate those interests accordingly. Point out the
irony of the Defarges owning the wine shop (they are leaders of the
revolutionaries) and the interesting quote by Mr. Defarge: “’Is it possible?’
repeated Defarge, bitterly. ‘Yes. And a beautiful world we live in, when it is
possible, and when many other such things are possible, and not only possible,
but done—done, see you!—under that sky there, every day. Long live the
Devil. Let us go on.’” (toward the end of the chapter). (10 minutes).
Assessment

Informal:
The teacher will ask formative questions like, “Does anyone have any
questions?” or, “Can you summarize/paraphrase what was just said?”
during the lesson to monitor student comprehension of the material.

Formal:
The teacher will collect students’ books for a quiz grade. As the teacher
checks to make sure students are putting post-its to mark important literary
elements in the book, she will also check to make sure the students marked
off the symbolism and foreshadowing talked about in chapter 5 in today’s
lesson.
Olga Goretoy’s Lesson Plan #7
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
“Mad Forty: Romantic Values”
R–10–6
Analyze and interpret author’s craft, citing evidence where appropriate by…
R–10–6.1 Demonstrating knowledge of author’s style or use of literary elements and
devices (i.e., imagery, repetition, flashback, foreshadowing, personification, hyperbole,
symbolism, analogy, allusion, diction, syntax, or use of punctuation) to analyze literary
works.
W–10–2
In response to literary or informational text, students show understanding of
plot/ideas/concepts by…
W–10–2.3 Connecting what has been read (plot/ideas/concepts) to prior knowledge,
other texts, or the broader world of ideas, by referring to and explaining relevant ideas
or themes.
W–10–3
In response to literary or informational text, students make and support analytical
judgments about text by…
W–10–3.2 Making inferences about the relationship(s) among content, events,
characters, setting, theme, or author’s craft.
W–10–3.3 Using specific details and references to text or relevant citations to support
thesis, interpretations, or conclusions.
NCTE/IRA:
1.
Students read a wide range of print and non-print texts to build an understanding of
texts, of themselves, and of the cultures of the United States and the world; to
acquire new information; to respond to the needs and demands of society and the
workplace; and for personal fulfillment. Among these texts are fiction and
nonfiction, classic and contemporary works.
2. Students read a wide range of literature from many periods in many genres to build
an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of
human experience.
6. Students apply knowledge of language structure, language conventions (e.g.,
spelling and punctuation), media techniques, figurative language, and genre to
create, critique, and discuss print and non-print texts.
Context of the
The students will have read up to chapter 8 of the second book of ATOTC by the
time of this Mad Forty. The class will have discussed Romantic Values
before—both in the introductory power point and during discussions/reviews of
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
the chapters—so identifying those values in the Mad Forty should not be a
problem. The significance of women and the idealization of them—the second
book in this novel is called “The Golden Thread” (symbolic of Lucy)—the
misunderstood loner, emphasis on the individual, and love are all themes of the
Romantic period that we will have discussed already in class (these
themes/values are present in Byron’s poem, too). This lesson will allow students
to synthesize what they have learned about the Romantic period so far.
Opportunities
to Learn
Plans to differentiate instruction:
Definition:
Materials, Learners
and Environments
Spatial/Visual: We will be studying pictures. These students will enjoy having
something to look at and being able to analyze pictures instead of words—for
once.
Auditory: There will be an oral discussion about the pictures the teacher will
show. Also, directions will be given orally in addition to being written down on
paper.
Linguistic: The Mad Forty will require students to analyze a poem, applying
their knowledge of figurative language and strategies.
Intrapersonal: These students will have an opportunity to study people from
different time periods. They will also have a chance to respond to peers during
class discussion.
Interpersonal: The Mad Forty will assess what each individual student knows or
understands about what is being learned in class. It also gives students an
opportunity to choose which values/topics in the poem he/she wants to discuss
or focus on.
Accommodations and modifications:
Students who might have trouble seeing the pictures from the projection may be
allowed to move up to the front of the classroom.
Students who may have trouble reading the poem and understanding it will still
have the ability to work with the poem because it will be read aloud in class
(some students benefit from hearing something out loud better than reading it
themselves… they pick up on things like patterns, specific words, rhyme, etc.).
Many students have terrible handwriting. For this reason, students will be able
to take the essay home and type up a final copy to turn in to the teacher. The CT
uses an honor system, so students do not alter their work when they get home.
Environmental factors:
There are more desks than there are students in this class. So, for the
Engagement activity, ask students to spread out as they do the Mad Forty. This
will help prevent cheating.
The ELMO projector will need to be turned on/off during the lesson, but the
“On” button may be too high for the teacher to reach. The teacher may ask a tall
student to help.
There will be student work displayed in the back of the classroom that has to do
with activities/essays the students have been doing during their study of the
Romantic period. It is ok to leave these up, as this is the students’ work and may
help them remember some of the things they learned about the Romantic period
previously (they already know all of this, they just need help remembering… if
they do not know the material, the clues at the back of the classroom will not be
helpful, anyway).
Materials:

Objectives
5 pictures of fashion from different time periods (attached at the end of this
lesson).
 ELMO projector
 Mad Forty assignment sheet and Byron’s poem—one copy for each
student.
 4 pieces of paper, for the students to write on (students will have their own
paper).
Strategy Objective:
The student will be able to identify common values and themes among different
genres of literature in the same time period—the Romantic Era—by writing a
well thought-out analysis explaining his/her inferences.
Content Objective:
The student will read Lord Byron’s poem, “And Wilt Thou Weep When I Am
Low?” and write an analytical essay comparing the values in the poem to those
previously studied in ATOTC and in the introductory power-point.
68 minute period.
Opening: 15 minutes.
Instructional
Procedures
1. “How many of you, if you were given a poem or novel to read, would feel
confident that you could identify which time period the literature came
from?” Only a few students will raise their hands. “Ok, how many of you,
if you were given a picture of a person wearing clothes from a certain time
period, could predict what time period that person lived in?” Most students
will raise their hands. “How would you know?” (Students might say that
they would look for common clothes that are specific to that time period…
that fashion changes over time, so each trend is unique to the time period it
was popularized in, etc).
2. “Ok, let’s try it.” Show student the different fashion pictures one at a time
(using the ELMO) and have them identify which period each is from. Have
students justify their answers. For example, “I know these people are from
the 90s because they have big hair and big hair was a trend at that time.”
etc.
3. “Believe it or not, but your ability to answer this question, ‘How do you
know?’, comes from your studies in English class! Often, your teacher asks
you to make inferences about a text and then justify your answers by
referring back to the text. The only difference is that in literature, you have
verbal cues instead of visual cues. I want you to be able to do the same
thing when you look at literature from the Romantic period as you did with
these pictures. Literature is not much different than clothing or movies or
anything else that can give you insight into what time period it is from. I
want you to be confident in your ability to recognize clues that will tell you
that this work is from such and such a period because we study this in
class!”
Engagement: 48 minutes.
17. Have students take out at least 4 pieces of paper. Pass out the prompt sheet.
Read the directions to the students. Read Byron’s poem to the students.
“Think about things that we mentioned both in the power point and in our
reading of ATOTC of common values and themes of the time. You will see
several in this poem. Look at it from different angles.” Answer any
questions (8 minutes).
18. Have students complete the Mad Forty. Remind the students that they must
work independently and in silence. Students may raise their hands if they
have any questions; the teacher will walk over to address each student
individually. (40 minutes).
Closure: 5 minutes.
Assessment
1. Talk to the students about their experience with the Mad Forty. What did
they find difficult? What did they find easier because of the exercise in the
beginning?
2. “As we continue to read ATOTC, I hope you will see more Romantic
values being established throughout the novel. I also hope that you see why
Dickens writes how and about what he does; it is not so much an individual
whimsy as much as a cultural movement at the time. Like the fashion we
studied in the beginning of class, Exaggerated characters and beautifully
dismal settings are just Dickens’ way of representing the time.”
3. Remind students to bring in a typed copy of the essay by next class.
 Informal:
Class discussion of the fashions. The teacher will informally assess
students’ ability to connect clues from something (the pictures) to predict
which time period it is from (formative assessment). The students will then
apply this ability to the Mad Forty.

Formal:
The Mad Forty will be graded like an essay. The CT has a copy of the rubric
for correcting the Mad Forty.
THE FOLLOWING ARE THE THREE IMAGES THE TEACHER WILL SHOW THE STUDENTS IN THE OPENING.
THEY WILL BE BLOWN UP TO FIT A WHOLE PAGE PER PICTURE. THE TEACHER WILL ONLY SHOW THE
PICTURE TO THE STUDENTS, NOT THE CITATIONS.
lea1231. “1920s Fashion”. REGARDLESS OF WHERE LIFE
TAKES YOU…SMILE. Blogspot.com, 14 November
2010. Accessed on 21 December 2010.
<<http://lea1231. blogspot.com/2010/11/1920sfashion.html>>.
“1970’s Fashion.” Pastreunited.com. n.p., 2005-2010.
Accessed 21 December 2010.
<<http://www.pastreunited. com/id192.html>>.
Powazek, Derek. “Bonus Points—80s Style.” Dan The Man
trivia. Wordpress.com, 22 September 2009.
Accessed 21 December 2010.
<<http://danthemantrivia.wordpress.com/
2009/09/22/bonus-points-80s-style/>>.
Karra, Teja. “Sahil Bhatia, Alex Ismail, Kiratdeep Kahlon,
Saratteja Karra, and Vishwas Tiwari present the:
1940s”. PBWorks. Accessed 21 December 2010.
<<https://iams.pbworks.
com/w/page/26407754/A4-1940s-Rokicki>>.
Just Jenn. “Jenn-a-palooza 2010”. Jenn- A Work In
Progress. Blogspot.com, 14 Novemebr 2010.
Accessed 21 December 2010.
<<http://frogprince909.blogspot.com/2010/11/j
enn-palooza-2011.html>>.
ENGLISH 125
“Mad Forty”
Directions:
You have 40 minutes to plan out, organize, and write an essay on the topic below—NO MORE, NO LESS.
At the end of the time, you are to bring your essay home and type it exactly as it is. You are not to
change any sentence or add any details to your essay. The only changes you are allowed to make are
spelling errors made when you originally wrote the essay in class.
YOUR TYPED ESSAY IS DUE NEXT CLASS. Bring in your handwritten essay and your final typed essay.
If your typed essay is any different from your handwritten essay (aside from spelling or grammar
corrections), you will fail the assignment.
Take your time. The essay is answered in the 5-10 minutes you spend pre-writing and organizing your
ideas, not in the time you spend writing. Even if you think the prompt is easy to write about, take time
to organize all your ideas before starting.
Prompt:
Lord Byron is a well-known poet who wrote during the Romantic period. Read the following poem by
Lord Byron. Now pretend an alien came down from his UFO, found this poem on the street, and came
up to you asking if you knew which era this poem was from. If you did not know the fact that Byron
wrote in the Romantic period, what other clues in the poem could lead you to the conclusion this is a
piece of literature from the Romantic period? Do you see any values of the Romantic period represented
or evident in this poem? Which? Support your claim by citing specific lines from the poem.
In a well-written essay, explain how Byron’s poem fits into the genre of Romantic literature. Be sure to
refer back to the poem. The essay must include an introduction, at least one body paragraph, and a
conclusion.
And Wilt Thou Weep When I Am Low?
by Lord Byron
And wilt thou weep when I am low?
Sweet lady! speak those words again:
Yet if they grieve thee, say not so--I would not give that bosom pain.
My heart is sad, my hopes are gone,
My blood runs coldly through my breast;
And when I perish, thou alone
Wilt sigh above my place of rest.
And yet, methinks, a gleam of peace
Doth through my cloud of anguish shine:
And for a while my sorrows cease,
To know thy heart hath felt for mine.
Oh lady! blessd be that tear--It falls for one who cannot weep;
Such precious drops are doubly dear
To those whose eyes no tear may steep.
Sweet lady! once my heart was warm
With every feeling soft as thine;
But Beauty's self hath ceased to charm
A wretch created to repine.
Yet wilt thou weep when I am low?
Sweet lady! speak those words again:
Yet if they grieve thee, say not so--I would not give that bosom pain.
Olga Goretoy’s Lesson Plan #8
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
“Poor Sydney Carton: Exploring Misunderstood Loners of the Romantic
Period”
R–10–16
Generates a personal response to what is read through a variety of means…
R–10–16.1 Comparing stories or other texts to related personal experience, prior
knowledge, or to other books.
W–10–2
In response to literary or informational text, students show understanding of
plot/ideas/concepts by…
W–10–2.1 Selecting and summarizing key ideas to set context, appropriate to audience.
OC–10–2
In oral communication, students make oral presentations by…
OC–10–2.1 Exhibiting logical organization and language use, appropriate to audience,
context, and purpose.
OC–10–2
In oral communication, students make oral presentations by…
OC–10–2.5 Using a variety of strategies of address (e.g., eye contact, speaking rate,
volume, articulation, enunciation, pronunciation, inflection, voice modulation,
intonation, rhythm, and gesture) to communicate ideas effectively.
NCTE/IRA:
4. Students adjust their use of spoken, written, and visual language (e.g., conventions,
style, vocabulary) to communicate effectively with a variety of audiences and for
different purposes.
10. Students use spoken, written, and visual language to accomplish their own purposes
(e.g., for learning, enjoyment, persuasion, and the exchange of information).
Context of the
Lesson
Where does this
This lesson does not follow Lesson 7; there is one day of instruction in-between
lessons 7 and 8, where the students will be learning about women in the
Romantic period. Lesson 8, however, will help the students make personal
connections to ATOTC and see how/why this novel is considered “romantic”.
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
They are in the middle of Book 2. This is also the last lesson the students will
have before they go on February Vacation (the teacher will give the students
chapters to read over the break).
Students will have received the prompt for this project on Monday, giving them
four days to memorize their monologue. They are presenting on Friday of the
same week.
The popsicle sticks are a classroom management tool the teacher will have at
the beginning of the unit; the sticks have student names on them and are used to
call on volunteers when students do not want to talk/present/whatever.
Opportunities
to Learn
Plans to differentiate instruction:
Definition:
Materials, Learners
and Environments
Kinesthetic: Students will be able to connect to what they read by acting it out.
Auditory: This lesson includes oral presentations. Also, students will be able to
hear passages from ATOTC performed by other students, which will hopefully
allow them to hear the emotion Dickens uses in his writing.
Spatial/Visual: Students will be able to see and listen to others perform.
Linguistic: Memorizing Dickens’ language and speaking it will allow these
students to more fully explore the text. Students will also be asked to complete a
Response sheet, where they will analyze the passage they chose.
Intrapersonal: Students will be able to work with partners for this presentation.
Interpersonal: Students will be able to work alone for this presentation. They
will also be making their own choices about which passage to read; this will
allow students to connect with the text. Students will also be asked to reflect on
their experience with this presentation.
Accommodations and modifications:
If a student has a serious issue with performing in front of the whole class,
arrangements can be made for students to meet the teacher after school and say
their passage privately. None of the students in this class have speech
impediments, so saying the passages should not be impossible.
Environmental factors:
Students may require space for their performances, if they plan on moving or
walking around. The teacher must clear a space at the front of the classroom for
the performers. This should not be so difficult, as the chairs are usually set up
with plenty of space at the front of the classroom, as it is.
Due to nervousness about their own performances, students who are in the
audience as another student is performing might not pay attention to the student
at the front of the classroom. Those in the audience might be writing, reading
over their passage, or filling out their Response sheet. This can distract the
performer. To make sure the audience is being respectful and listening to each
performer, remind students that they need to be respectful and paying attention
to the performer; those who are disruptive or who are not paying attention will
lose points on their own presentations.
Materials:


Objectives
Popsicle sticks with students’ names on them.
Response sheets (students have these; they will turn them in at the end
of the period).
 Rubric for each student (to grade as each student performs).
Strategy Objective:
The student will be able to emotionally connect to a passage from A Tale of Two
Cities, recognizing its significance to the novel and in the Romantic Era.
Content Objective:
The student will select a passage he/she likes and deliver an oral presentation of
it in the form of a performance of a monologue or conversation from Dickens’ A
Tale of Two Cities, executing important aspects of oral presentations (such as
loudness, clarity, preparation, and timing) with a passing grade of 66/100 or
higher.
68 minute period.
Opening: 5 minutes.
Instructional
Procedures
19. Offer emotional support for the students for what they are about to
do:“Today is our readings of scenes and monologues from ATOTC! Yay!
Who is excited? Nervous? Don’t be nervous. All of you will do
wonderfully.”
20. Make a list on the board of the order the students will perform. Ask for
volunteers to go first. Record those names on the board. Next, randomly
select names (using the popsicle sticks) and finish the list of names.
21. Sit in the back of the classroom.
Engagement: 58 minutes.
1. Allow 2-4 minutes for each performance. As one student finishes, the next
goes up to perform. Students should wait for the teacher’s cue to start (the
teacher may be finishing up grading the previous performance).
2. As the students are performing, the teacher should point out good things
and assess common problems. The teacher should offer positive
reinforcement: “That was nice and loud; good job!”; and constructive
criticism: “Your voice was very animated. Nicely done! Don’t forget that
you can also use the space around you to move around and show emotion,
too.” This will help not only the student who just went but also the students
who will perform.
Closure: 5 minutes.
Assessment
1. Have students complete the rest of their Response sheets and turn them in.
 Informal:
Formative assessments of students’ ability to do oral presentations. Teacher
will offer suggestions for students for improving posture, loudness, etc. as
they do their presentations.

Formal:
The performances and responses will be graded using the rubric given on
the prompt sheet (students can earn up to 10 points in each category, for a
total of 70 points).
*the prompt and responses for this project are attached to this lesson. Student will have gotten these
papers previously (on the Monday that this project was assigned).
Romantic Readings
When something is “romanticized,” it means it is made glamorous, it is
idealized, or that it is exaggerated. Think of a sad moment with a violin
playing in the background; the scene is tragic, but the violin almost
makes it beautiful, too. Or, think of a moment when someone talks
about someone they love; the language is always extreme (“he’s my
forever” or “she’s my world”, etc.) and plays up the image of the
person being talked about. In either case, there is much emotion and passion.
Dickens romanticizes many characters and moments in A Tale of Two Cities—especially in the conversations and
monologues offered by the characters. But, just by reading over these speeches, sometimes we miss the emotion and
drama that is offered.
So, to help us get a taste of these romantic moments, you will be performing a monologue—or conversation—in front
of the class. The monologue can be one character’s dialogue, or the narrator’s description of something. With this
performance, you are to show the class the full emotion available at this point in the novel.
You will choose your own monologue (or conversation), selecting any passage up to where we will read by the time you
perform (around chapter 15 of book 2). After you choose a monologue, show the teacher your selection to get the
“ok” to start learning it. See Ms. G by the end of the day on Weds—the latest—to show her your choice for approval.
MONOLOGUE: must be around 130 words.
CONVERSATIONS: around 130 words per person.
The total presentation should take about 2 minutes; no more than 4 minutes. Practice a few times before you perform!
You will be graded on:
 Response Sheet______________________ X/20
 Quick introduction to your passage______ X/10
 Clarity_____________________________ X/10
 Loudness___________________________ X/10
 Emotion____________________________ X/10
 Preparation_________________________ X/10
 Accuracy___________________________ X/10
 Timing_____________________________ X/10
 Attendance_________________________ X/10
TOTAL: X/100
Performances will be held on Friday, February 18, 2011.
NAME:______________________________________________________ DATE:______________
Romantic Readings: Response
Approval of passage: Teacher signature_____________________________________________________
Cite your passage:______________________________________________________________________
***PRINT A COPY OF YOUR PASSAGE TO GIVE TO THE TEACHER DURING YOUR PRESENTATION. THE TEACHER WILL
USE THIS TO REFERT TO AND GRADE YOU FOR ACCURACY.***
ANSWER THE FOLLOWING QUESTIONS (4 POINTS EACH):
1. What is this passage about?
__________________________________________________________________________________
__________________________________________________________________________________
2. What is being “romanticized” in this passage?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
3. Look at the language Dickens uses in this passage. Analyze it. What “romantic” qualities does it
have?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
4. What are you finding the most difficult thing to be while learning this passage? To speak the words?
To memorize long sentences? Does this passage sound like it was meant to be spoken or just read?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
5. (Complete after you perform) How did it feel to finally perform the passage? Did you learn anything
new about Dickens, the Romantic era, or the novel from your experience?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Olga Goretoy’s Lesson Plan #9
Grade/Content
Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
“Let’s Talk About It: Using the Socratic Method to Explore Dickens’ A Tale of
Two Cities”
R–10–12
Demonstrates ability to monitor comprehension and strategy use for different types of
texts and purposes by…
R–10–12.1 Using a range of self-monitoring and self-correction approaches (e.g.,
rereading, adjusting rate, sub-vocalizing, consulting resources, questioning, using flexible
note taking/mapping systems, skimming, scanning)
R–10–13
Uses Comprehension strategies (flexibly and as needed) before, during, and after
reading literary and informational text.
R–10–17
Demonstrates participation in a literate community by…
R–10–17.2 Participating in in-depth discussions about text, ideas, and student writing by
offering comments and supporting evidence, recommending books and other materials, and
responding to the comments and recommendations of peers, librarians, teachers, and
others.
OC–10–1
In oral communication, students demonstrate interactive listening by …
OC–10–1.2 Summarizing, paraphrasing, questioning, or contributing to information
presented.
OC–10–1.4 Participating in large and small group discussions showing respect for a range
of individual ideas.
OC–10–2
In oral communication, students make oral presentations by…
OC–10–2.4 Effectively responding to audience questions and feedback
OC–10–2.5 Using a variety of strategies of address (e.g., eye contact, speaking rate,
volume, articulation, enunciation, pronunciation, inflection, voice modulation, intonation,
rhythm, and gesture) to communicate ideas effectively
NCTE/IRA:
3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other readers
and writers, their knowledge of word meaning and of other texts, their word identification
strategies, and their understanding of textual features (e.g., sound-letter correspondence,
sentence structure, context, graphics).
4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style,
vocabulary) to communicate effectively with a variety of audiences and for different
purposes.
11. Students participate as knowledgeable, reflective, creative, and critical members of a
variety of literacy communities.
12. Students use spoken, written, and visual language to accomplish their own purposes
(e.g., for learning, enjoyment, persuasion, and the exchange of information).
Context of the
Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit or
a series of lessons?
Opportunities
to Learn
This lesson will be the first lesson after February vacation. The teacher will have
sent an email to the students at the beginning of the break, reminding them to
prepare for the Socratic seminar the day after break. The lesson/seminar will span
over two days. Discussions will be based on the students’ reading over break:
Chapters 16-24 of A Tale of Two Cities. The day before break, students will have
received a packet with prompt questions in a packet (I will include this later) to
help the seminar run smoother. This will be the students’ first experience with the
Socratic method, but not the first time they will be leading a discussion with
minimal help from the teacher. This seminar will include the whole class, as
opposed to the popular two-circle method.
Plans to differentiate instruction:
Auditory: The whole Socratic Seminar is conducted orally.
Kinesthetic: The students will be sitting in a new set up, which should help make
this lesson memorable for these students.
Definition:
Materials, Learners
and Environments
Spatial/Visual: The students will be able to loot at classmates during the
discussions, thus being able to associate comments with faces (making the
discussion more memorable to these students).
Linguistic: Students will need to refer back to the text to support their arguments.
Or, some students might need help finding textual support for their claims; that is
where the linguistic learners will be able to help. Also, the discussion will be about
what students read in ATOTC.
Intrapersonal: Students get to respond to each other during the discussion.
Interpersonal: Students reflect on their experience with the Socratic method of
learning via the “Student Evaluation” at the end of each session.
Accommodations and modifications:
This lesson already ministers to many needs, abilities, and interests; since students
will be leading the discussion, they will talk about the points that are most
important and pressing for them. To help all students remember important things
they found during their reading (to be used during the discussion), students will be
encouraged to use post-it notes as they read the chapters to mark
important/interesting spots, and then refer back to these spots during the
discussion.
Forcing students to keep their own tallies of the number of times they participate in
the discussion also teaches students to monitor their engagement and involvement
in class and with their learning (especially helpful for those students who are quiet
and do not realize they are not participating—and therefore losing points for lack
of participation).
Environmental factors:
There should be enough room in the classroom to make a circle big enough to fit
all the students, yet small enough to fit in the classroom. However, there is a
possibility that classroom may not be big enough to fit everyone. To try to create
more room, move the un-used desks to the middle of the circle, since that area will
not be used, anyway. Otherwise, create two concentric circles.
Materials:
22. Video from:
msapigo. “EHS Enlgish 2P- 1st Socratic Seminar Q3”. YouTube, 16 November
2009.
Accessed
22
December
2010.
<<http://www.youtube.com/watch?v=nCHS8tsTOfk&feature=related>>.
Objectives
23. Post-its (for those students who do not have any).
24. Handouts: “Socratic Seminar Student Evaluation” (2 copies for each student),
“Socratic Seminar for A Tale of Two Cities” (1 copy per student), and
“Socratic Seminar Participant Rubric” (1 copy per student).
25. ELMO projector.
Strategy Objective:
The student will be able to participate in an intellectual, challenging, and academic
discussion about Dickens’ A Tale of Two Cities without the help of the teacher,
expanding both his/her and the class’ understanding of and experience with the
novel.
Content Objective:
The student will discuss A Tale of Two Cities in a Socratic Seminar, contributing
beneficial conversation to the discussion at least 8 times over the course of two
days.
68 minute period.
Opening: 10 minutes.
Instructional
Procedures
1. “Welcome back! Today we will be doing something called a ‘Socratic
Seminar’. This is a question and discussion-based type of learning that a man
named Socrates used with his students.” Ask students if they know who
Socrates is or anything about him. Take the answers.
2. After students are done sharing their background knowledge, tell students the
following: “Socrates was a famous Greek philosopher. His method of teaching
encouraged students to question everything. The Greek government became
uneasy with this method, for when people begin to question everything; they
are no longer blinded by what they are told. Instead, they look at everything
with a critical eye. Because Socrates’ methods made the Greek government
nervous, they sentenced him to death. His death sentence was to drink a
poisoned drink (hemlock). One of his students was so inspired by Socrates
that he dedicated his life to writing down everything Socrates ever said – that
student was Plato. Today, thousands of years later, many professors and
teachers realize the benefits of this kind of learning and Socrates’ method is
used all around the world.” (Summary provided by: http://www.fcpsteach.
org/docs/Socratic%20Seminars-Directions.doc).
3. “This Socratic seminar is what we will be doing today and tomorrow. We will
be introduced to how to do it today, and continue our discussions tomorrow.”
Engagement: 48 minutes.
1. Introduce students to the Socratic method: (10 minutes)
-Pass out the “Socratic Seminar Student Evaluation” (2 copies for each
student) and the “Socratic Seminar for A Tale of Two Cities” to the students.
Go over them. Ask students if they have any questions.
-Go over the “Socratic Seminar Participant Rubric” with the students using
the ELMO projector. The teacher will have a copy of this rubric for each
student—used for grading—and will give it back to the students after the
second seminar, with a grade.
-Show YouTube video of a sample Socratic seminar to students. (stop at
6:00). Point out that: 1) students are responding to each other, not the teacher;
2) students encourage each other to participate; 3) the conversation evolves, so
students cover a variety of topics; 4) all the students are engaged; and 5)
students are prepared.
-Today, the students will focus on contributing to the discussion at least 3
times. In total (between today and tomorrow), the students should participate
at least 6 times.
2. Have students re-arrange desks to make one big circle. Give the students
about 5 minutes to look over their books to remind themselves of what they
read over break, and look up the questions/comments they had. Ask for a
volunteer or appoint someone to begin with a question. (8 minutes)
3. Students participate in a Socratic Seminar on their reading of A Tale of Two
Cities (30 minutes). As the students are talking, the teacher should sit in the
back of the classroom and keep track of the participation. The teacher will put
a tally mark next to each student’s name as he/she talks. A star will go next to
the tally for a great comment, and a “-“ will go next to a tally for a poor
response (one that does not benefit the conversation).
Closure: 10 minutes.
1. “Ok, it is great that we got a chance to practice and get a feel for the Socratic
method of discussing literature today. We will be continuing this seminar
tomorrow, since you read many chapters over break and there is still much to
discuss. Come in with ready questions, comments, or observations tomorrow
so we can get right into the discussion. As soon as you come in, re-arrange the
desks and I will tell you when to begin. Any Questions?” Take questions.
2. Please take out your Student Evaluation sheet and fill it out. I want you to
reflect on the seminar today, and come up with ideas for how to make things
go smoother or better tomorrow. You can write any ideas or suggestions you
have in the ‘Comments’ section. Please pass in this paper before you leave
today.”
3. Collect the evaluations at the end of class.
**Steps 2-3 of the Engagement and steps 1-3 of the Closing will be repeated the
next lesson, when the class continues the discussion of Chapters 16-24 of ATOTC.
Assessment

Informal:
The teacher will keep track of student participation in the seminar by recording
a tally next to his/her name every time he/she talks. A star will represent an
exceptional comment, and a “-” will indicate a useless comment. Teacher will
also make sure students are being respectful (otherwise, they will lose points in
their participation grades).
The teacher will assess students’ experience with the seminar based on the
responses, comments, and suggestions in the “Socratic Seminar Student
Evaluation” forms. These evaluations will allow students to self-evaluate, too.

Formal:
Students will be graded for the quality of their participation in the seminar via
the “Socratic Seminar Participant Rubric”.
NAME:_____________________________________________________DATE:________________
Socratic Seminar Student Evaluation
How do you feel about today’s discussion?
Issues discussed in class:
Superficial
1
2
3
4
5
Thorough and Deep
1
2
3
4
5
High
1
2
3
4
5
Excellent
3
4
5
High
Quantity of your own participation:
Low
Quality of your own participation:
Poor
Your interest in the conversation and material:
Low
1
2
The class’ interest, based on the quality and quantity of participation:
Low
1
2
3
4
5
High
1
2
3
4
5
High
4
5
Full
Complexity of the discussion:
Low
Degree of your own understanding of the material:
Lost and Confused
1
2
3
Comments:
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
____________________________________________________________________________________1
1
Rubric adapted from: Wiggins, Grant. “Socratic Seminars: Guidelines”. Authentic Education, 2004. Accessed 22 December
2010. <<http://www.authenticeducation.org/documents/WhatSeminar04. pdf>>.
NAME:_____________________________________________________DATE:________________
Socratic Seminar for A Tale of Two Cities
Socratic Seminars are open places for discussion and learning. Socrates, a Greek philosopher, taught his
students to question everything. You will be doing the same! As you discuss A Tale of Two Cities as a
class, keep the following guidelines for Socratic seminars in mind:

Refer to the text when needed during the
discussion.

Come prepared to participate.

Do not stay confused; ask for clarification.

Stick to the point currently under discussion;
make notes about ideas you want to come back
to.



Don't raise hands; take turns speaking.
Listen carefully.
academically beneficial; being nasty is not.

Speak up so that all can hear you.

Talk to each other, not just to the teacher.

Discuss ideas rather than each other's opinions.

You are responsible for the seminar, even if you
don't know it or admit it.

You may invite people to participate, especially
those who have not had a chance to talk, yet.

Look up passages to support others’ remarks.

Respect others. Challenging someone’s idea is

Ask questions, make comments, respond to
someone’s comment, make connections, etc.
Keep track of your participation by making tallies on a post-it note every time you speak. At the end
of the day, you will attach this post-it to the Student Evaluation sheet and pass both in to the
teacher. Meanwhile, the teacher will be assessing your participation during the discussion.
Remember: while you do not want to be invisible, you also do not want to dominate the
conversation.
Socratic Seminar: Participant Rubric
Participant offers enough solid analysis, without prompting, to move the conversation
forward.
A Level Participant
Participant, through her comments, demonstrates a deep knowledge of the text and the
question.
Participant has come to the seminar prepared, with notes and a marked/annotated text.
Participant, through her comments, shows that she is actively listening to other participants.
Participant offers clarification and/or follow-up that extends the conversation.
Participant’s remarks often refer back to specific parts of the text.
Participant offers solid analysis without prompting.
B Level Participant
Through comments, participant demonstrates a good knowledge of the text and the
question.
Participant has come to the seminar prepared, with notes and a marked/annotated text.
Participant shows that he/she is actively listening to others and offers clarification and/or
follow-up.
Participant offers some analysis, but needs prompting from others.
C Level Participant
Through comments, participant demonstrates a general knowledge of the text and
question.
Participant is less prepared, with few notes and no marked/annotated text.
Participant is actively listening to others, but does not offer clarification and/or follow-up to
others’ comments.
Participant relies more upon his or her opinion, and less on the text to drive her comments.
Participant offers little or no commentary.
D or F Level
Participant
Participant comes to the seminar ill-prepared with little understanding of the text and
question.
Participant does not listen to others, offers no commentary to further the discussion.
Participant distracts the group by interrupting other speakers or by offering off topic
questions and comments.
Participant ignores the discussion and its participants.
Olga Goretoy’s Lesson Plan #10
Grade/Conte
nt Area
Lesson Title
10th grade/English
State Standards:
GLEs/GSEs
GLEs/GSEs:
National Content
Standards:
“Hope, As Interpreted By Various Romantic Poets”
R–10–11
Reads grade-level appropriate material with:
R–10–11.1 Accuracy: reading material appropriate for high school with at least 90-94%
accuracy.
R–10–4
Demonstrate initial understanding of elements of literary texts by…
R–10–4.2 Paraphrasing or summarizing key ideas/plot, with major events sequenced, as
appropriate to text.
R–10–5
Analyze and interpret elements of literary texts, citing evidence where appropriate by…
R–10–5.3 Making inferences about cause/effect, internal or external conflicts (e.g., person
versus self, person versus person, person versus nature/society/fate), or the relationship
among elements within text (e.g., describing the interaction among plot/subplots).
R–10–5.5 Explaining how the author’s purpose (e.g., to entertain, inform or persuade),
message or theme (which may include universal themes) is supported within the text
R–10–17
Demonstrates participation in a literate community by…
R–10–17.2 Participating in in-depth discussions about text, ideas, and student writing by
offering comments and supporting evidence, recommending books and other materials, and
responding to the comments and recommendations of peers, librarians, teachers, and others.
NCTE/IRA:
1.
2.
3.
Students read a wide range of print and non-print texts to build an understanding of texts,
of themselves, and of the cultures of the United States and the world; to acquire new
information; to respond to the needs and demands of society and the workplace; and for
personal fulfillment. Among these texts are fiction and nonfiction, classic and
contemporary works.
Students read a wide range of literature from many periods in many genres to build an
understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human
experience.
Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other readers
and writers, their knowledge of word meaning and of other texts, their word identification
strategies, and their understanding of textual features (e.g., sound-letter correspondence,
sentence structure, context, graphics).
4.
Context of
the Lesson
Where does this
lesson fit in the
curriculum and
instructional
context? Is it the
opening of a unit
or a series of
lessons?
Opportunitie
s to Learn
Definition:
Materials,
Learners and
Environments
Students adjust their use of spoken, written, and visual language (e.g., conventions, style,
vocabulary) to communicate effectively with a variety of audiences and for different
purposes.
This lesson will be conducted as students finish reading ATOTC—they will be up to
Chapter 5 in Book 3. Because the overall study of the unit is the Romantic period,
and not just ATOTC, this lesson will give students more opportunities to study
different genres of literature from this time period. However, students will have had
experience reading poetry from Romantic poets previously in the unit, too. This
lesson will be a thematic study, looking at different poets’ perspectives on a theme of
the Romantic period which the class will be studying: hope. The students will be able
to sufficiently analyze the poems—having some background in studying poetry and
its jargon in previous years—despite the fact that the poetry unit will be next quarter.
Plans to differentiate instruction:
Auditory: The students will have a chance to talk and listen to others talk during the
group discussion—analysis of the poems will be conducted orally.
Kinesthetic: students will have a chance to move from their “home” group, where
they will become experts at one poem, to their “teaching/learning” group, where they
will teach their poem to others and learn about others’ poems. The movement and
transitions between these different groups will indicate to these students that they are
switching between activities—this will activate their mind to focus on the new
activity.
Spatial/Visual: The students will have copies of the poems in front of them to look at
as they analyze them.
Linguistic: This lesson will require students to study poems—language.
Intrapersonal: Students will have to take personal responsibility for learning the
poems and making observations about the texts.
Interpersonal: Students will be working in groups throughout the lesson.
Accommodations and modifications:
Some students may not like group work, or may be really shy and have trouble
presenting their poem to the rest of the group. To accommodate both types of
learners, put them with positive students who will encourage them to participate or
put them with their friends (they may be more willing to engage around people they
feel comfortable with).
Some learners tend to get distracted during group work. The teacher can make sure
students are staying on task by walking around and monitor each group.
Additionally, the teacher may encourage students to write down their
notes/observations during the discussion—if students are engaged, they will not get
distracted!
Environment factors:
Students will be moving chairs around a lot for the group work—this may get noisy,
as the chairs are metal and the ground is made of tile. Ask students to move desks
quickly, and pick up the desks instead of sliding them across the floor, if possible.
All of the groups will need to be discussing at once, and this may also contribute to
the noise level in the classroom. Ask students to be respectful of other groups and
keep their voices to an appropriate loudness.
Materials:
26. “The Marital Courage of a Day is Vain” poem for each student. From:
Woodsworth, William. “The Marital Courage of a Day is Vain”. Archive of
Classic Poems. Everpoet.com. Accessed 23 December 2010
<<http://www.everypoet.com/archive/poetry/William_Wordsworth/william
_wordsworth_355.htm>>.
27. “Bereavement” poem for each student. From:
“Bereavement by Percy Bysshe Shelley”. About.com, 2010. Accessed 23
December
2010.
<<http://classiclit.about.com/
library/bletexts/pshelley/bl-pshel-bereave.htm>>.
28. “I Would I Were a Careless Child” poem for each student. From:
“George Gordon Byron: ‘I Would I Were a Careless Child”. Poetry Lovers
Page. poetryloverspage.com, 2010. Accessed 23 December 2010.
<<http://www.poetryloverspage.com/poets/
byron/i_would_i_were_careless.html>>.
29. “A Dream Within a Dream” poem for each student. From:
Poe, Edgar Allen. “A Dream Within a Dream”. Poets.org. Academy of
American
Poets,
2010.
Accessed
23
December
2010.
<<http://www.poets. org/viewmedia.php/prmMID/16092>>.
Objectives
Strategy Objective:
The student will be able to make thematic, cultural, and linguistic connections
between literary texts of the same time period as he/she analyzes four poems from
four different poets of the Romantic era.
Content Objective:
The student will read one poem by Woodsworth, one by Lord Byron, one by Shelley,
and one by Poe, analyzing the style and values of each individually and then
comparing/contrasting all of the texts by contributing at least one valuable
observation to the group discussion.
68 minute period.
Opening: 10 minutes.
Instructional
Procedures
1. Open discussion with the students: “What is hope? How is it defined? Who
usually has it? Does everyone need hope? Why?”
Engagement: 48 minutes.
1. “We will be studying four different Romantic poets. Many of them have
signature themes they are known for, but all of them dedicated several poems to
musing about hope. We are going to break up into four groups, with each group
studying a different poem. The teacher will go around and tell you which poem
you will be studying. You will discuss, within your group, your given poem;
note both the literary elements and devices in the poem as well as its portrayal of
the concept of hope. Then, we will get into new groups, with one person from
each poem in each new group. I will tell you what to do then. Questions?” Take
student questions. (4 minutes)
2. Count of students by fours. Then separate groups—the Ones in one corner of the
classroom, the Twos in another corner, etc. Since there are twenty students in the
class, there should be five students in each group. Though the students have all
the poems in their poem packets, they will be studying only one poem at this
point—each group will study a different poem. The teacher will go around and
assign each group a poem: Ones will study Woodsworth, Twos will study
Shelley, Threes will study Byron, and Fours will study Poe. As soon as they are
assigned their poem, the groups can start discussing the text. Remind students
that they should become experts at their poems, as they will need to teach it to
the other groups—and answer their questions—later in the period. (4 minutes)
3. Students study their assigned poems. Students should read the poem (either to
themselves or out-loud as a group) at least twice before analyzing it—first for
initial understanding, and then for depth. Meanwhile, the teacher walks around to
make sure students are staying on task, to answer questions, and to help with the
understanding of the poems. (15 minutes)
4. Turn students’ attention to the next part of the lesson. “Now that you are experts
at your poems, you will be teaching your poem to the other groups. I will now
give you new numbers, and I want each of you to get into your new groups.
When you get into your new group, one person should go at a time to talk about
your poem. Whoever is presenting should first read the poem, and then talk
about the important comments and observations their group made when they
studied the poem. The rest of the group will then be able to ask questions and
make their own observations. Each poem/student should take about 6 minutes to
go over the poem. After you have gone over each poem individually, see if you
can compare/contrast any or all of the pieces. Any questions?” Answer student
questions. (3 minutes)
5. Within the current groups, count off each table by 5s (so, each table will have a
1, 2, 3, 4, and 5. Then, have the new Ones go with the other Ones in one corner,
the new Twos in another corner, etc. There will be four people in each group;
five groups in total. As soon as the students are with their groups, they may
begin discussing their poems. (22 minutes)
Closure: 10 minutes.
Assessment
1. Ask students what they thought of the poems. Were there any really good
comments or observations in the groups? Have them share with the rest of the
class.
2. “Today, we read and analyzed beautiful language about a very non-scientific
concept: hope. Hope, like the style of some of these poets, seems to defy logic
and structure—and is available to everyone. Keep this in mind as we continue to
read ATOTC, and especially as we see Sydney Carton—our poor,
misunderstood loner—grapple with the idea of hope in the coming chapters.”
 Informal:
The teacher will walk around, listening to student conversations and making sure
each group touches upon important aspects of their poem (formative assessment).
The teacher will also look for students to mark the poems with underlining,
highlighting, using post-its, or other examples that show the student is interacting
with the text.
 Formal:
Students will later need to demonstrate their ability to interpret and analyze texts
(which they are learning in this lesson) during the Unit Text, at the end of the
unit.
The Martial Courage of a Day is Vain
By William Woodsworth
THE martial courage of a day is vain,
An empty noise of death the battle's roar,
If vital hope be wanting to restore,
Or fortitude be wanting to sustain,
Armies or kingdoms. We have heard a strain
Of triumph, how the labouring Danube bore
A weight of hostile corses; drenched with gore
Were the wide fields, the hamlets heaped with slain.
Yet see (the mighty tumult overpast)
Austria a daughter of her Throne hath sold!
And her Tyrolean Champion we behold
Murdered, like one ashore by shipwreck cast,
Murdered without relief. Oh! blind as bold,
To think that such assurance can stand fast!
Bereavement
by Percy Bysshe Shelley
How stern are the woes of the desolate mourner
As he bends in still grief o'er the hallowed bier,
As enanguished he turns from the laugh of the scorner,
And drops to perfection's remembrance a tear;
When floods of despair down his pale cheeks are streaming,
When no blissful hope on his bosom is beaming,
Or, if lulled for a while, soon he starts from his dreaming,
And finds torn the soft ties to affection so dear.
Ah, when shall day dawn on the night of the grave,
Or summer succeed to the winter of death?
Rest awhle, hapless victim! and Heaven will save
The spirit that hath faded away with the breath.
Eternity points, in its amaranth bower
Where no clouds of fate o'er the sweet prospect lour,
Unspeakable pleasure, of goodness the dower,
When woe fades away like the mist of the heath.
I Would I Were a Careless Child
George Gordon Byron
I would I were a careless child,
Still dwelling in my Highland cave,
Or roaming through the dusky wild,
Or bounding o’er the dark blue wave;
The cumbrous pomp of Saxon pride,
Accords not with the freeborn soul,
Which loves the mountain’s craggy side,
And seeks the rocks where billows roll.
Fortune! Take back these cultur’d lands,
Take back this name of splendid sound!
I hate the touch of servile hands,
I hate the slaves that cringe around:
Place me among the rocks I love,
Which sound to Ocean’s wildest roar;
I ask but this – again to rove
Through scenes my youth hath known before.
Few are my years, and yet I feel
The World was ne’er design’d for me:
Ah! Why do dark’ning shades conceal
The hour when man must cease to be?
A visionary scene of bliss:
Truth – wherefore did thy hated beam
Awake me to a world like this?
I lov’d – but those I lov’d are gone;
Had friends – my early friends are fled:
How cheerless feels the heart alone,
When all its former hopes are dead!
Though gay companions o’er the bowl
Dispel awhile the sense of ill;
Though Pleasure stirs the maddening soul,
The heart – the heart – is lonely still.
How dull! to hear the voice of those
Whom Rank of Chance, whom Wealth or Power,
Have made, though neither friends nor foes,
Associates of the festive hour.
Give me again a faithful few,
In years and feelings still the same,
And I will fly the midnight crew,
Where boist’rous Joy is but a name.
And Woman, lovely Woman! thou,
My hope, my comforter, my all!
How cold must be my bosom now,
When e’en thy smiles begin to pall!
Without a sigh would I resign,
This busy scene of splendid Woe,
To make that calm contentment mine,
Which Virtue knows, or seems to know.
Fain would I fly the haunts of men –
I seek to shun, not hate mankind;
My breast requires the sullen glen,
Whose gloom may suit a darken’d mind.
Oh! that to me the wings were given,
Which bear the turtle to her nest!
Then would I cleave the vault of Heaven,
To flee away, and be at rest.
A Dream Within a Dream
by Edgar Allan Poe
Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow:
You are not wrong who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.
I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-How few! yet how they creep
Through my fingers to the deep,
While I weep--while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?