McDougal Littell l i t e r at u r e acknowledgments introductory unit The Barbara Hogenson Agency: Excerpt from A Young Lady of Property by Horton Foote Copyright © 1955, 1983 by Horton Foote Reprinted by arrangement with Horton Foote and The Barbara Hogenson Agency KidsHealth: Excerpt from “Stress” by the Memours Foundation, from KidsHealth.com Copyright © by KidsHealth.com Reprinted with permission Atheneum Books for Young Readers: Excerpt from “Shells,” from Every Living Thing by Cynthia Rylant Copyright © 1985 by Cynthia Rylant Reprinted by permission of Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing Division Continued on page R147 art credits cover, title page Untitled (1986), Jerry N Uelsmann © 2003 Jerry N Uelsmann Continued on page R151 Copyright © 2008 by McDougal Littell, a division of Houghton Mifflin Company All rights reserved Warning: No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system without the prior written permission of McDougal Littell unless such copying is expressly permitted by federal copyright law With the exception of not-for-profit transcription in Braille, McDougal Littell is not authorized to grant permission for further uses of copyrighted selections reprinted in this text without the permission of their owners Permission must be obtained from the individual copyright owners as identified herein Address inquiries to Supervisor, Rights and Permissions, McDougal Littell, P.O Box 1667, Evanston, IL 60204 ISBN 13: 978-0-618-49566-5 ISBN 10: 0-618-49566-5 Printed in the United States of America 9—VJM—12 11 10 09 08 ii McDougal Littell l i t e r at u r e Janet Allen Arthur N Applebee Jim Burke Douglas Carnine Yvette Jackson Robert T Jiménez Judith A Langer Robert J Marzano Donna M Ogle Carol Booth Olson Carol Ann Tomlinson Mary Lou McCloskey Lydia Stack EVANSTON, ILLINOIS • BOSTON • DALLAS senior program consultants janet allen Reading and Literacy Specialist; creator of the popular “It’s Never Too Late”/“Reading for Life” Institutes Dr Allen is an internationally known consultant who specializes in literacy work with at-risk students Her publications include Tools for Content Literacy; It’s Never Too Late: Leading Adolescents to Lifelong Learning; Yellow Brick Roads: Shared and Guided Paths to Independent Reading; Words, Words, Words: Teaching Vocabulary in Grades 4–12; and Testing 1, 2, Bridging Best Practice and High-Stakes Assessments Dr Allen was a high school reading and English teacher for more than 20 years and has taught courses in both subjects at the University of Central Florida She directed the Central Florida Writing Project and received the Milken Foundation National Educator Award arthur n applebee Leading Professor, School of Education at the University at Albany, State University of New York; Director of the Center on English Learning and Achievement During his varied career, Dr Applebee has been both a researcher and a teacher, working in institutional settings with children with severe learning problems, in public schools, as a staff member of the National Council of Teachers of English, and in professional education Among his many books are Curriculum as Conversation: Transforming Traditions of Teaching and Learning; Literature in the Secondary School: Studies of Curriculum and Instruction in the United States; and Tradition and Reform in the Teaching of English: A History He was elected to the International Reading Hall of Fame and has received, among other honors, the David H Russell Award for Distinguished Research in the Teaching of English jim burke Lecturer and Author; Teacher of English at Burlingame High School, Burlingame, California Mr Burke is a popular presenter at educational conferences across the country and is the author of numerous books for teachers, including School Smarts: The Four Cs of Academic Success; The English Teacher’s Companion; Reading Reminders; Writing Reminders; and ACCESSing School: Teaching Struggling Readers to Achieve Academic and Personal Success He is the recipient of NCTE’s Exemplary English Leadership Award and was inducted into the California Reading Association’s Hall of Fame douglas carnine Professor of Education at the University of Oregon; Director of the Western Region Reading First Technical Assistance Center Dr Carnine is nationally known for his focus on research-based practices in education, especially curriculum designs that prepare instructors of K-12 students He has received the Lifetime Achievement Award from the Council for Exceptional Children and the Ersted Award for outstanding teaching at the University of Oregon Dr Carnine frequently consults on educational policy with government groups, businesses, communities, and teacher unions yvette jackson Executive Director of the National Urban Alliance for Effective Education Nationally recognized for her work in assessing the learning potential of underachieving urban students, Dr Jackson is also a presenter for the Harvard Principal Center and is a member of the Differentiation Faculty of the Association for Supervision and Curriculum Development Dr Jackson’s research focuses on literacy, gifted education, and cognitive mediation theory She designed the Comprehensive Education Plan for the New York City Public Schools and has served as their Director of Gifted Programs and Executive Director of Instruction and Professional Development robert t jiménez Professor of Language, Literacy, and Culture at Vanderbilt University Dr Jiménez’s research focuses on the language and literacy practices of Latino students A former bilingual education teacher, he is now conducting research on how written language is thought about and used in contemporary Mexico Dr Jiménez has received several research and teaching honors, including two Fulbright awards from the Council for the International Exchange of Scholars and the Albert J Harris Award from the International Reading Association His published work has appeared in the American Educational Research Journal, Reading Research Quarterly, The Reading Teacher, Journal of Adolescent and Adult Literacy, and Lectura y Vida iv judith a langer Distinguished Professor at the University at Albany, State University of New York; Director of the Center on English Learning and Achievement; Director of the Albany Institute for Research in Education An internationally known scholar in English language arts education, Dr Langer specializes in developing teaching approaches that can enrich and improve what gets done on a daily basis in classrooms Her publications include Getting to Excellent: How to Create Better Schools and Effective Literacy Instruction: Building Successful Reading and Writing Programs She was inducted into the International Reading Hall of Fame and has received many other notable awards, including an honorary doctorate from the University of Uppsala, Sweden, for her research on literacy education robert j marzano Senior Scholar at Mid-Continent Research for Education and Learning (McREL); Associate Professor at Cardinal Stritch University in Milwaukee, Wisconsin; President of Marzano & Associates An internationally known researcher, trainer, and speaker, Dr Marzano has developed programs that translate research and theory into practical tools for K-12 teachers and administrators He has written extensively on such topics as reading and writing instruction, thinking skills, school effectiveness, assessment, and standards implementation His books include Building Background Knowledge for Academic Achievement; Classroom Management That Works: Research-Based Strategies for Every Teacher; and What Works in Schools: Translating Research Into Action donna m ogle Professor of Reading and Language at National-Louis University in Chicago, Illinois; Past President of the International Reading Association Creator of the well-known KWL strategy, Dr Ogle has directed many staff development projects translating theory and research into school practice in middle and secondary schools throughout the United States and has served as a consultant on literacy projects worldwide Her extensive international experience includes coordinating the Reading and Writing for Critical Thinking Project in Eastern Europe, developing integrated curriculum for a USAID Afghan Education Project, and speaking and consulting on projects in several Latin American countries and in Asia Her books include Coming Together as Readers; Reading Comprehension: Strategies for Independent Learners; All Children Read; and Literacy for a Democratic Society carol booth olson Senior Lecturer in the Department of Education at the University of California, Irvine; Director of the UCI site of the National Writing Project Dr Olson writes and lectures extensively on the reading/writing connection, critical thinking through writing, interactive strategies for teaching writing, and the use of multicultural literature with students of culturally diverse backgrounds She has received many awards, including the California Association of Teachers of English Award of Merit, the Outstanding California Education Research Award, and the UC Irvine Excellence in Teaching Award Dr Olson’s books include Reading, Thinking, and Writing About Multicultural Literature and The Reading/Writing Connection: Strategies for Teaching and Learning in the Secondary Classroom carol ann tomlinson Professor of Educational Research, Foundations, and Policy at the University of Virginia; Co-Director of the University’s Institutes on Academic Diversity An internationally known expert on differentiated instruction, Dr Tomlinson helps teachers and administrators develop effective methods of teaching academically diverse learners She was a teacher of middle and high school English for 22 years prior to teaching at the University of Virginia Her books on differentiated instruction have been translated into eight languages Among her many publications are How to Differentiate Instruction in Mixed-Ability Classrooms and The Differentiated Classroom: Responding to the Needs of All Learners v english learner specialists mary lou mCcloskey Past President of Teachers of English to Speakers of Other Languages (TESOL); Director of Teacher Development and Curriculum Design for Educo in Atlanta, Georgia Dr McCloskey is a former teacher in multilingual and multicultural classrooms She has worked with teachers, teacher educators, and departments of education around the world on teaching English as a second and foreign language She is author of On Our Way to English, Voices in Literature, Integrating English, and Visions: Language, Literature, Content Her awards include the Le Moyne College Ignatian Award for Professional Achievement and the TESOL D Scott Enright Service Award lydia stack International ESL consultant Her areas of expertise are English language teaching strategies, ESL standards for students and teachers, and curriculum writing Her teaching experience includes 25 years as an elementary and high school ESL teacher She is a past president of TESOL Her awards include the James E Alatis Award for Service to TESOL (2003) and the San Francisco STAR Teacher Award (1989) Her publications include On Our Way to English; Wordways: Games for Language Learning; and Visions: Language, Literature, Content curriculum specialist william l mCbride Curriculum Specialist Dr McBride is a nationally known speaker, educator, and author who now trains teachers in instructional methodologies A former reading specialist, English teacher, and social studies teacher, he holds a Masters in Reading and a Ph.D in Curriculum and Instruction from the University of North Carolina at Chapel Hill Dr McBride has contributed to the development of textbook series in language arts, social studies, science, and vocabulary He is also known for his novel Entertaining an Elephant, which tells the story of a burned-out teacher who becomes re-inspired with both his profession and his life media specialists david m considine Professor of Instructional Technology and Media Studies at Appalachian State University in North Carolina Dr Considine has served as a media literacy consultant to the U.S government and to the media industry, including Discovery Communications and Cable in the Classroom He has also conducted media literacy workshops and training for county and state health departments across the United States Among his many publications are Visual Messages: Integrating Imagery into Instruction, and Imagine That: Developing Critical Viewing and Thinking Through Children’s Literature larkin pauluzzi Teacher and Media Specialist; trainer for the New Jersey Writing Project Ms Pauluzzi puts her extensive classroom experience to use in developing teacher-friendly curriculum materials and workshops in many different areas, including media literacy She has led media literacy training workshops in several districts throughout Texas, guiding teachers in the meaningful and practical uses of media in the classroom Ms Pauluzzi has taught students at all levels, from Title I Reading to AP English IV She also spearheads a technology club at her school, working with students to produce media and technology to serve both the school and the community lisa k scheffler Teacher and Media Specialist Ms Scheffler has designed and taught media literacy and video production curriculum, in addition to teaching language arts and speech Using her knowledge of mass communication theory, coupled with real classroom experience, she has developed ready-to-use materials that help teachers incorporate media literacy into their curricula She has taught film and television studies at the University of North Texas and has served as a contributing writer for the Texas Education Agency’s statewide viewing and representing curriculum vi teacher advisors These are some of the many educators from across the country who played a crucial role in the development of the tables of contents, the lesson design, and other key components of this program: Virginia L Alford, MacArthur High School, San Antonio, Texas Gary Chmielewski, St Benedict High School, Chicago, Illinois Yvonne L Allen, Shaker Heights High School, Shaker Heights, Ohio Delorse Cole-Stewart, Milwaukee Public Schools, Milwaukee, Wisconsin Dave T Anderson, Hinsdale South High School, Darien, Illinois L Calvin Dillon, Gaither High School, Tampa, Florida Pat Laws, CharlotteMecklenburg Schools, Charlotte, North Carolina Linda Valdez, Oxnard Union High School District, Oxnard, California Diana R Martinez, Treviño School of Communications & Fine Arts, Laredo, Texas Nancy Walker, Longview High School, Longview, Texas Dori Dolata, Rufus King High School, Milwaukee, Wisconsin Natalie Martinez, Stephen F Austin High School, Houston, Texas Jon Epstein, Marietta High School, Marietta, Georgia Elizabeth Matarazzo, Ysleta High School, El Paso, Texas Beverly Scott Bass, Arlington Heights High School, Fort Worth, Texas Helen Ervin, Fort Bend Independent School District, Sugarland, Texas Carol M McDonald, J Frank Dobie High School, Houston, Texas Jordana Benone, North High School, Torrance, California Sue Friedman, Buffalo Grove High School, Buffalo Grove, Illinois Amy Millikan, Consultant, Chicago, Illinois Kacy Colleen Anglim, Portland Public Schools District, Portland, Oregon Patricia Blood, Howell High School, Farmingdale, New Jersey Marjorie Bloom, Eau Gallie High School, Melbourne, Florida Edward J Blotzer, Wilkinsburg Junior/Senior High School, Wilkinsburg, Pennsylvania Stephen D Bournes, Evanston Township High School, Evanston, Illinois Barbara M Bowling, Mt Tabor High School, Winston-Salem, North Carolina Kiala Boykin-Givehand, Duval County Public Schools, Jacksonville, Florida Laura L Brown, Adlai Stevenson High School, Lincolnshire, Illinois Cynthia Burke, Yavneh Academy, Dallas, Texas Hoppy Chandler, San Diego City Schools, San Diego, California Chris Gee, Bel Air High School, El Paso, Texas Terri Morgan, Caprock High School, Amarillo, Texas Paula Grasel, The Horizon Center, Gainesville, Georgia Eileen Murphy, Walter Payton Preparatory High School, Chicago, Illinois Christopher Guarraia, Centreville High School, Clifton, Virginia Lisa Omark, New Haven Public Schools, New Haven, Connecticut Rochelle L Greene-Brady, Kenwood Academy, Chicago, Illinois Kaine Osburn, Wheeling High School, Wheeling, Illinois Michele M Hettinger, Niles West High School, Skokie, Illinois Elizabeth Holcomb, Forest Hill High School, Jackson, Mississippi Andrea J Phillips, Terry Sanford High School, Fayetteville, North Carolina Cathy Reilly, Sayreville Public Schools, Sayreville, New Jersey Scott Snow, Sequin High School, Arlington, Texas James Paul Hunter, Oak ParkRiver Forest High School, Oak Park, Illinois Jane W Speidel, Brevard County Schools, Viera, Florida Beverley A Lanier, Varina High School, Richmond, Virginia Elizabeth Whittaker, Larkin High School, Elgin, Illinois Linda S Williams, Woodlawn High School, Baltimore, Maryland John R Williamson, Fort Thomas Independent Schools, Fort Thomas, Kentucky Anna N Winters, Simeon High School, Chicago, Illinois Tonora D Wyckoff, North Shore Senior High School, Houston, Texas Karen Zajac, Glenbard South High School, Glen Ellyn, Illinois Cynthia Zimmerman, Mose Vines Preparatory High School, Chicago, Illinois Lynda Zimmerman, El Camino High School, South San Francisco, California Ruth E Zurich, Brown Deer High School, Brown Deer, Wisconsin Mark D Simon, Neuqua Valley High School, Naperville, Illinois Jim Horan, Hinsdale Central High School, Hinsdale, Illinois Susan P Kelly, Director of Curriculum, Island Trees School District, Levittown, New York Kurt Weiler, New Trier High School, Winnetka, Illinois Cheryl E Sullivan, Lisle Community School District, Lisle, Illinois Anita Usmiani, Hamilton Township Public Schools, Hamilton Square, New Jersey vii mcdougal littell literature contents in brief introductory unit part 1: literary elements The Power of Ideas literary genres workshop • • • • • Fiction Poetry Drama Nonfiction and Informational Texts Types of Media weaving a story unit personality tests unit Preview Set a Purpose Connect Use Prior Knowledge Predict Visualize Monitor Make Inferences Analyzing Character and Point of View reader’s workshop: Point of View, Narrator, reading strategies workshop • • • • • • • • Plot, Conflict, and Setting reader’s workshop: Plot, Conflict, Setting writing workshop: Descriptive Essay Methods of Characterization writing workshop: Comparison-Contrast Essay lessons to learn unit Understanding Theme reader’s workshop: Theme writing workshop: Short Story writing process workshop • Writing Process Review • Key Traits part 2: language and culture finding a voice unit Mood, Tone, and Style reader’s workshop: Mood, Tone, Author’s Style writing workshop: Interpretive Essay picture the moment unit Appreciating Poetry reader’s workshop: Form, Speaker, Sound Devices, Imagery, Figurative Language writing workshop: Personal Response to a Poem sharing our stories unit Myths, Legends, and Tales reader’s workshop: Traditional Literature writing workshop: Cause-and-Effect Essay viii l i t e r at u r e classzone.com literature and reading center • • • • part 3: nonf iction with purpose writing a life unit Biography and Autobiography Author Biographies Additional Selection Background Literary Analysis Frames Power Thinking Activities writing and grammar center • Writing Templates and Graphic Organizers • Publishing Options • Quick-Fix Editing Machine reader’s workshop: Characteristics of vocabulary and spelling center Biographies and Autobiographies writing workshop: Personal Narrative • • • • face the facts unit Information, Argument, and Persuasion reader’s workshop: Text Features, Preview, Main Idea and Supporting Details, Take Notes, Outline Vocabulary Strategies and Practice Multi-Language Academic Vocabulary Glossary Vocabulary Flash Cards Spelling Lessons media center • Production Templates • Analysis Guides writing workshop: Persuasive Essay research center investigation and discovery • Web Research Guide • Citation Guide unit The Power of Research research strategies workshop: Reference Materials and Technology, Evaluate Sources writing workshop: Research Report assessment center • Assessment Practice and Test-Taking Tips • SAT/ACT Practice and Tips more technology eEdition • Interactive Selections • Audio Summaries WriteSmart student resource bank reading handbook writing handbook grammar handbook vocabulary and spelling handbook • • • • • Writing Prompts and Templates Interactive Student Models Interactive Graphic Organizers Interactive Revision Lessons Rubric Generator MediaSmart DVD • Media Lessons • Interactive Media Studies speaking and listening handbook media handbook test-taking handbook glossaries ix unit Skills and Standards Setting, Conflict, Characters, Stages of Plot Weaving a Story plot, conflict, and setting • in fiction • in nonfiction • in poetry • in drama • in media reader’s workshop: parts of a story 24 short story The Dinner Party Mona Gardner 28 Gary Soto 30 Katherine Paterson 42 fiction short story Plot, Connect Seventh Grade short story Setting, Identify Sequence The Last Dog Reading for Information ‘Spot’ Goes High-Tech online article 61 short story Conflict, Make Inferences Thank You, M’am Connect If I can stop one Heart from breaking poem Langston Hughes 62 Emily Dickinson 68 Rudyard Kipling 72 short story Suspense, Predict x Rikki-tikki-tavi Cannon in front of them Volley’d and thunder’d; Storm’d at with shot and shell, Boldly they rode and well, Into the jaws of Death, 25 Into the mouth of Hell Rode the six hundred 20 Flash’d all their sabers3 bare, Flash’d as they turn’d in air Sabring the gunners there, 30 Charging an army, while All the world wonder’d: Plunged in the battery4 smoke, Right thro’ the line they broke; Cossack and Russian 35 Reel’d from the saber-stroke, Shatter’d and sunder’d.5 Then they rode back, but not, Not the six hundred b b READING A NARRATIVE POEM Cannon to right of them, 40 Cannon to left of them, Cannon behind them Volley’d and thunder’d; Storm’d at with shot and shell, While horse and hero fell, 45 They that had fought so well Came thro’ the jaws of Death Back from the mouth of Hell, All that was left of them, Left of six hundred c When can their glory fade? O, the wild charge they made! All the world wonder’d Honor the charge they made! Honor the Light Brigade, 55 Noble six hundred! 50 sabers: heavy, slightly curved swords battery: related to guns and cannons used together sunder’d: broken apart; split into pieces 574 unit 5: appreciating poetry Since narrative poems have a plot, they also have a climax, or point of greatest excitement What is the climax of this poem? c RHYTHM AND METER Reread lines 39–42 aloud What is happening to the 600 soldiers? Explain how the meter of these lines matches the events being depicted Detail of Equestrian Portrait of a Man with a Page (1600s), Thomas de Keyser Oil on canvas, 94.6 cm × 77.2 cm Private collection Photo © Bridgeman Art Library n a m y a ighw he oy e s N d e r f Al art ne 10 The wind was a torrent of darkness among the gusty trees The moon was a ghostly galleon1 tossed upon cloudy seas The road was a ribbon of moonlight over the purple moor,2 And the highwayman came riding— Riding—riding— The highwayman came riding, up to the old inn-door d d READING A NARR ATIVE POEM What is the setting of this poem? Note the setting and the characters in your story map He’d a French cocked-hat on his forehead, a bunch of lace at his chin, A coat of the claret velvet, and breeches of brown doeskin They fitted with never a wrinkle His boots were up to the thigh And he rode with a jeweled twinkle, His pistol butts a-twinkle His rapier hilt3 a-twinkle, under the jeweled sky claret (klBrPGt) adj dark red galleon (gBlPC-En): a large sailing ship moor: a wide, rolling open area, usually covered with low-growing shrubs rapier (rAPpC-Er) hilt: sword handle the charge / the highwayman 575 15 20 25 30 35 Over the cobbles4 he clattered and clashed in the dark inn-yard He tapped with his whip on the shutters, but all was locked and barred He whistled a tune to the window, and who should be waiting there But the landlord’s black-eyed daughter, Bess, the landlord’s daughter, Plaiting5 a dark red love-knot into her long black hair And dark in the dark old inn-yard a stable wicket6 creaked Where Tim the ostler7 listened His face was white and peaked His eyes were hollows of madness, his hair like moldy hay, But he loved the landlord’s daughter, The landlord’s red-lipped daughter Dumb as a dog he listened, and he heard the robber say— “One kiss, my bonny sweetheart, I’m after a prize tonight, But I shall be back with the yellow gold before the morning light; Yet, if they press me sharply, and harry me through the day, Then look for me by moonlight, Watch for me by moonlight, I’ll come to thee by moonlight, though hell should bar the way.” He rose upright in the stirrups He scarce could reach her hand, But she loosened her hair in the casement.8 His face burnt like a brand As the black cascade of perfume came tumbling over his breast; And he kissed its waves in the moonlight, (O, sweet black waves in the moonlight!) Then he tugged at his rein in the moonlight, and galloped away to the west SOCIAL STUDIES CONNECTION With the cry of “Stand and deliver!” highwaymen halted and robbed the carriages of the upper class in 17th- and 18th-century England Like Robin Hood, highwaymen were admired by ladies and celebrated by the poor, who often felt oppressed by the rich cascade (kB-skAdP) n a waterfall or something that resembles a waterfall art wo 40 He did not come in the dawning He did not come at noon; And out of the tawny sunset, before the rise of the moon, When the road was a gypsy’s ribbon, looping the purple moor, A redcoat troop came marching— Marching—marching— King George’s men came marching, up to the old inn-door cobbles: rounded stones used for paving roads plaiting: braiding wicket: a small door or gate ostler (JsP-lEr): a worker who takes care of horses at an inn casement: a window that opens outward on side hinges 576 unit 5: appreciating poetry tawny (tôPnC) adj a warm, sandy shade of brownish orange 45 50 55 60 65 70 They said no word to the landlord They drank his ale instead But they gagged his daughter, and bound her, to the foot of her narrow bed Two of them knelt at her casement, with muskets at their side! There was death at every window; And hell at one dark window; For Bess could see, through her casement, the road that he would ride e READING A They had tied her up to attention, with many a sniggering jest They had bound a musket beside her, with the muzzle beneath her breast! “Now, keep good watch!” and they kissed her She heard the doomed man say— Look for me by moonlight; Watch for me by moonlight; I’ ll come to thee by moonlight, though hell should bar the way! e NARR ATIVE POEM How did the redcoats find out about Bess and the highwayman? Explain how you made this inference Then note the main conflict in your story map She twisted her hands behind her; but all the knots held good! She writhed her hands till her fingers were wet with sweat or blood! They stretched and strained in the darkness, and the hours crawled by like years, Till, now, on the stroke of midnight, Cold, on the stroke of midnight, The tip of one finger touched it! The trigger at least was hers! writhe (rFth) v to twist or move painfully The tip of one finger touched it She strove no more for the rest Up, she stood up to attention, with the muzzle beneath her breast She would not risk their hearing; she would not strive again; For the road lay bare in the moonlight; Blank and bare in the moonlight; And the blood of her veins, in the moonlight, throbbed to her love’s refrain Tlot-tlot; tlot-tlot! Had they heard it? The horse hoofs ringing clear; Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear? Down the ribbon of moonlight, over the brow of the hill, The highwayman came riding— Riding—riding— The redcoats looked to their priming! She stood up, straight and still f f RHY THM AND METER On a piece of paper, scan lines 67–68, noting the stressed and unstressed syllables in each line Why is this meter perfectly suited to the action that’s taking place? looked to their priming: prepared their muskets by pouring in the gunpowder used to fire them the highwayman 577 75 Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night! Nearer he came and nearer Her face was like a light Her eyes grew wide for a moment; she drew one last deep breath, Then her finger moved in the moonlight, Her musket shattered the moonlight, Shattered her breast in the moonlight and warned him—with her death g g READING A NARR ATIVE POEM 80 85 90 95 100 What just happened? Note the event on your story map He turned He spurred to the west; he did not know who stood Bowed, with her head o’er the musket, drenched with her own blood! Not till the dawn he heard it, his face grew grey to hear How Bess, the landlord’s daughter, The landlord’s black-eyed daughter, Had watched for her love in the moonlight, and died in the darkness there Back, he spurred like a madman, shouting a curse to the sky, With the white road smoking behind him and his rapier brandished high Blood-red were his spurs in the golden noon; wine-red was his velvet coat; When they shot him down on the highway, Down like a dog on the highway, And he lay in his blood on the highway, with a bunch of lace at his throat h And still of a winter’s night, they say, when the wind is in the trees, When the moon is a ghostly galleon tossed upon cloudy seas, When the road is a ribbon of moonlight over the purple moor, A highwayman comes riding— Riding—riding— A highwayman comes riding, up to the old inn-door Over the cobbles he clatters and clangs in the dark inn-yard He taps with his whip on the shutters, but all is locked and barred He whistles a tune to the window, and who should be waiting there But the landlord’s black-eyed daughter, Bess, the landlord’s daughter, Plaiting a dark red love-knot into her long black hair 578 unit 5: appreciating poetry h MOOD Reread lines 85–90 Note the images that stand out to you What mood, or feeling, they help create? After Reading Comprehension Clarify What is the outcome of the Light Brigade’s charge? Recall Where does Bess wait for the highwayman? Summarize In your own words, explain how Bess and the highwayman each die Literary Analysis Compare and Contrast Characters For each poem, make a list of the character traits the soldiers display Are the soldiers in the two poems similar or different? Explain your answer Analyze a Ballad “The Highwayman” is a special type of narrative poem called a ballad Ballads have the same features as narrative poems, but they were originally meant to be sung or read out loud What elements of “The Highwayman” make it an exciting poem to read aloud? Give examples Reading a Narrative Poem Look back at the story map you created as you read “The Charge of the Light Brigade.” How you think a short story about the same battle might be different from this poem? What added information might the story include, and what effects might be missing? Evaluate Rhythm and Meter Choose a few lines from each poem and read them to yourself, exaggerating the emphasis on the stressed syllables Write the lines in a chart like the one shown and mark the stressed and unstressed syllables in each Then explain how the rhythm of each line contributes to its overall effect “The Charge of the Light Brigade” Lines from Poem Effect Half a league, half a league, Half a league onward, sounds like a galloping horse Extension and Challenge SOCIAL STUDIES CONNECTION Research the true story behind the legendary Light Brigade When and where did the battle described in the poem occur? How many soldiers lost their lives? Share your findings with the class Big Question Activity Think back to the discussion of honor on page 570 Who acted with the most honor—Bess, the highwayman, or the soldiers of the Light Brigade? Explain your answer research links For more on the Light Brigade, visit the Research Center at ClassZone.com the charge / the highwayman 579 Vocabulary in Context vocabulary practice Choose the word from the list that best fits each sentence The hiker looked at the _ glow of the setting sun and began to worry Not watching where he was walking, he tripped and fell, which made him _ in pain A thin, _-colored stream of blood trickled down his face He heard a _ of water far in the distance and tried not to think about his growing thirst cascade claret tawny writhe vocabulary in writing Which character could you see most clearly in your mind as you read these poems? Write a paragraph describing that character, using at least two vocabulary words You might start like this example sentence I pictured Bess most clearly, especially her cascade of long black hair vocabulary strategy: connotations Poets use language carefully They consider not only the dictionary definition of each word, but also its connotation The connotation of a word includes all the thoughts or feelings the word may bring to people’s minds Words can have a positive, a negative, or a neutral connotation For example, the vocabulary word cascade has a positive connotation that suggests something grand or picturesque PRACTICE For each sentence below, tell whether the boldfaced word has a positive, a negative, or a neutral connotation Then explain the meaning of the word She didn’t like the waiter’s prim manner and the restaurant’s overly formal atmosphere Because the coach was decisive, the players knew exactly what to With one look at his haggard face, they knew he had been experiencing sleepless nights She was so interesting and vivacious that everyone at the dinner party wanted to sit by her 580 unit 5: appreciating poetry vocabulary practice For more practice, go to the Vocabulary Center at ClassZone.com Reading-Writing Connection Increase your appreciation of “The Charge of the Light Brigade” and “The Highwayman” by responding to these prompts Then complete the Grammar and Writing excercise writing prompts self-check A Short Response: Write a Dialogue Both Bess and the soldiers of the Light Brigade stand up to something more powerful Write a half-page dialogue between Bess and a soldier of the Light Brigade in which they discuss their ideas of honor A realistic dialogue will • use language appropriate for each character B Extended Response: Write a News Article Pretend you are a reporter writing a front-page story about a recent tragedy Choose one of the poems and write a journalistic account of its events in three to five paragraphs Include a headline that will grab your readers’ attention A successful article will • include details from the poems that support each character’s ideas • describe all the important events of the poem • use descriptive words and phrases to make the event come alive for the reader grammar and writing USE THE ACTIVE VOICE A verb can be in either the active voice or the passive voice In a sentence that uses the active voice, the subject performs the verb’s action In a sentence that uses the passive voice, the subject of the sentence receives the verb’s action Active: Passive: The officers commanded the British soldiers (The subject officers performs the action of the verb commanded.) The British soldiers were commanded by the officers (The subject officers receives the action of the verbs were commanded.) PRACTICE Rewrite each of these sentences using the active voice The officers’ commands were obeyed by the Light Brigade Sabers were the weapons used by the British soldiers Soldiers and horses alike were killed by the Russians The Light Brigade will be remembered by the world For more help with active and passive voice, see page R57 in the Grammar Handbook the charge / the highwayman 581 Before Reading Two Haiku Poems by Matsuo Basho Fireflies Poem by Paul Fleischman Fireflies in the Garden Poem by Robert Frost How the seasons affect you? KEY IDEA With shelters, cars, and climate controls of all kinds, it can sometimes be easy to overlook the dramatic changes that occur on the earth each year But the seasons still determine the daily rhythms of our lives As the poems you’re about to read show, the changing seasons can even affect our emotions How the seasons make you feel? SURVEY Conduct a survey of your classmates Ask them for one or two words or phrases that they associate with each of the four seasons Record their answers in a Spring Summer Fall graphic organizer like the one shown Review your Student data when you are done Student What patterns you see? fpo 582 Winter poetic form: haiku Haiku is a form of poetry that originated hundreds of years ago in Japan In haiku, poets seek to create a clear picture with few words There are three key points to remember about traditional haiku • The entire poem consists of just 17 syllables arranged in three lines • The first and third lines each contain syllables, and the second line has syllables • Haiku centers on a symbol that instantly reminds its readers of a season The haiku by Basho on page 584 are classics of the form literary analysis: symbol Are you aware that you are surrounded by symbols? For example, you may have a U.S flag in your classroom or a company logo on your backpack A symbol is a person, place, object, or activity that stands for something beyond itself • Some symbols are unique to certain cultures In Japan, for example, plum blossoms symbolize early spring The crow symbolizes late autumn or the coming winter • Some symbols are understood across cultures For instance, in most cultures, a heart represents love By using symbols, poets are able to communicate rich and complex ideas quickly As you read the poems, identify the symbols and think about what ideas they express reading strategy: visualize Poets create images by using sensory details—words and phrases that appeal to the reader’s senses of sight, touch, taste, smell, and hearing Details that appeal to your sense of sight help you visualize, or create mental pictures of, the poet’s words As you read each poem, list the sensory details that help you “see” the pictures created by the poem “Fireflies” Sensory Details flickering glimmering Matsuo Basho: Japan’s Master Poet Matsuo Basho first pursued a career as a samurai before devoting himself to the poetry that he had loved in his youth He created Matsuo Basho a new style that 1644–1694 raised haiku to the level of serious literature Paul Fleischman: A Musician of Words Poet Paul Fleischman gives as much attention to the sound of his words as to their meaning Paul Fleischman Fleischman grew up born 1952 playing piano with his mother and listening to his father, an author, read aloud Robert Frost: A Legendary Poet Robert Frost is one of the most beloved poets of the 20th century As a young man, Frost ran a New Hampshire farm The New Robert Frost England farmers 1874–1963 Frost met were rich sources for his poetry He won his first of four Pulitzer Prizes in 1924 more about the author For more on these poets, visit the Literature Center at ClassZone.com 583 two haiku matsuo basho On sweet plum blossoms1 The sun rises suddenly Look, a mountain path! a Plum Garden, Kameido from One Hundred Views of Famous Places in Edo (1857), Utagawa Hiroshige Photo © Christie’s Images/Corbis a HAIKU Identify at least one symbol in this poem Also note what season the poem evokes A crow has settled on a bare branch— autumn evening b b SYMBOL What does the crow’s arrival symbolize? When haiku is translated from the original Japanese into English, the number of syllables per line sometimes changes slightly 584 unit 5: appreciating poetry paul fleischman Light Night is our parchment1 fireflies flitting Light is the ink we use Night We’re fireflies flickering flashing 10 fireflies glimmering glowing Insect calligraphers 15 practicing penmanship Six-legged scribblers of vanishing messages, 20 Fine artists in flight adding dabs of light Signing the June nights as if they were paintings 25 flickering fireflies fireflies fireflies gleaming c VISUALIZE c Reread lines 1–12 What words help you see the fireflies in your mind? Insect calligraphers copying sentences Six-legged scribblers d VISUALIZE fleeting3 graffiti Fine artists in flight bright brush strokes Signing the June nights as if they were paintings We’re fireflies flickering fireflies d Reread lines 20–24 Notice the simile comparing the “June nights” to paintings What you picture when you visualize the image presented in lines 20–24? parchment: fine-quality paper, usually made from the skin of goats or sheep calligraphers (kE-lGgPrE-fErz): creators of beautiful, elaborate handwriting fleeting: passing swiftly; soon gone two haiku / fireflies 585 Fireflies Garden in the Robert Frost Here come real stars to fill the upper skies, And here on earth come emulating1 flies, That though they never equal stars in size, (And they were never really stars at heart) Achieve at times a very star-like start Only of course they can’t sustain2 the part e e SYMBOL Reread the poem and think about what the fireflies might symbolize emulating: imitating sustain: keep up; prolong 586 unit 5: apreciating poetry After Reading Comprehension Recall In the first haiku, what does the rising sun reveal? In the second haiku, where does the crow settle? Clarify In “Fireflies,” what is the “ink” the fireflies use? Summarize In what ways are the fireflies in “Fireflies in the Garden” unlike the stars they try to copy? Literary Analysis Visualize Look back at the list of sensory details that helped you visualize For each poem, choose the details that most helped you visualize an image from that poem Sketch one of these images Examine Haiku Which haiku gives you a more hopeful feeling? Explain Evaluate Sound Devices In “Fireflies,” Fleischman repeats many words and phrases What are the words he repeats the most? What other example of repetition you notice? Tell how this repetition reflects the subject of the poem Analyze Symbol In “Fireflies in the Garden,” Robert Frost contrasts the stars in the “upper skies” with the fireflies “here on earth.” Use a chart like the one shown to explore the comparison more closely What theme or larger idea about life might Frost be trying to express by using the fireflies as a symbol? Extension and Challenge Speaking and Listening “Fireflies” is written for two voices Work with a partner and prepare an oral reading of the poem One of you should read the words in the left column at the same time the other reads the words in the right Perform your reading for the class What images in the poem does reading aloud help to reinforce? Creative Project: Writing Write a traditional haiku Pick one season and try to express how it affects you (You might look back at the words and phrases you collected in the survey on page 582 for ideas.) Details About the Fireflies My Thoughts The flies copy the stars The stars are in the sky, and the flies are on earth The flies were “never really stars at heart.” The flies can shine like stars, but they “can’t sustain the part.” two haiku / fireflies / fireflies in the garden 587 i Stars with Wings Reading for Information Science Article What’s the Connection? PAULßFLEISCHMA N ,IGHT ,IGHT ISTHEINKWEUSE IGHT IGHT ISOURPARCHMENT 7ERE FIREFLIES FLICKERING FIREFLIES FLITTING FLASHING FIREFLIES FIREFLIES GLIMMERING GLEAMING C GLOWING )NSECTCALLIGRAPHERS )NSECTCALLIGRAPHERS ANSHIP PRACTICINGPENM COPYINGSENTENCES 3IX LEGGEDSCRIBBLERS 3IX LEGGEDSCRIBBLERS OFVANISHINGMESSAGES ... Permissions, McDougal Littell, P.O Box 16 67, Evanston, IL 60204 ISBN 13 : 97 8-0 - 618 -4 956 6-5 ISBN 10 : 0- 618 -4 956 6-5 Printed in the United States of America 9—VJM 12 11 10 09 08 ii McDougal Littell l i... 90, 11 6, 12 7, 206, 225, 238, 256, 266, 278, 324, 336, 354, 373, 464, 474, 487, 506, 580, 645, 658, 668, 684, 711 , 7 21, 775, 788, 8 01, 8 21, 882, 893, 906, 926, 935, 942 pages 41, 60, 71, 91, 11 7,... Acknowledgments Art Credits R72 R72 R72 R75 R76 R76 R78 R 81 R82 R84 R84 R85 R87 R88 R90 R 91 R92 R93 R93 R94 R96 R97 R98 R99 R100 R 110 R 115 R124 R125 R000 R000 R000 R000 xxvii Selections by Genre fiction