© 2014 College Board. All rights reserved. ABOUT THE AUTHOR ACTIVITY 4.12 Of Mexican-American heritage, Gary Soto grew up in Fresno, California. In continued high school, he discovered a love of reading and knew he wanted to be a writer. He started writing while in college. His poems, short stories, and My Notes novels capture the vivid details of everyday life and have won numerous awards and prizes. KEY IDEAS AND DETAILS Free verse does not follow Poetry any regular pattern, rhythm, or rhyme. Oranges Of the poems in this activity, which has the most by Gary Soto fixed form? That is, which has a regular pattern of e rst time I walked rhythm and rhyme? With a girl, I was twelve, Cold, and weighted down Unit 4 • The Final Act 285 With two oranges in my jacket. 5 December. Frost cracking Beneath my steps, my breath Before me, then gone, As I walked toward Her house, the one whose 10 Porch light burned yellow Night and day, in any weather. A dog barked at me, until She came out pulling At her gloves, face bright 15 With rouge. I smiled, Touched her shoulder, and led Her down the street, across A used car lot and a line Of newly planted trees, 20 Until we were breathing Before a drugstore. We Entered, the tiny bell Bringing a saleslady Down a narrow aisle of goods.
A Poetic PerformanceACTIVITY 4.12continuedMy Notes 25 I turned to the candies Tiered like bleachers, And asked what she wanted— © 2014 College Board. All rights reserved. Light in her eyes, a smile Starting at the corners 30 Of her mouth. I ngered A nickle in my pocket, And when she li ed a chocolate at cost a dime, I didn’t say anything. 35 I took the nickle from My pocket, then an orange, And set them quietly on e counter. When I looked up, e lady’s eyes met mine, 40 And held them, knowing Very well what it was all About. Outside, A few cars hissing past, 45 Fog hanging like old Coats between the trees. I took my girl’s hand In mine for two blocks, en released it to let 50 Her unwrap the chocolate. I peeled my orange at was so bright against e gray of December at, from some distance, 55 Someone might have thought I was making a re in my hands.286 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. ABOUT THE AUTHOR ACTIVITY 4.12 As one of eleven children, Lewis Carroll (1832–1898) became adept at continued entertaining himself and his siblings with fantastic stories. Born as Charles Dodgson, Carroll published his stories under a pen name. Carroll is best My Notes known for Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There. His books have become classics that children Unit 4 • The Final Act 287 throughout the world enjoy. Poetry Jabb er wocky by Lewis Carroll ‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. 5 ‘Beware the Jabberwock, my son! e jaws that bite, the claws that catch! Beware the Jubjub bird, and shun e frumious Bandersnatch!’ He took his vorpal sword in hand: 10 Long time the manxome foe he sought – So rested he by the Tumtum tree, And stood a while in thought. And, as in u sh thought he stood, e Jabberwock, with eyes of ame, 15 Came whi ing through the tulgey wood, And burbled as it came! One two! One two! And through and through e vorpal blade went snicker-snack! He le it dead, and with its head 20 He went galumphing back. ‘And hast thou slain the Jabberwock? Come to my arms, my beamish boy! Oh frabjous day! Callooh! Callay!’ He chortled in his joy. 25 ‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.
A Poetic PerformanceACTIVITY 4.12continuedMy Notes 4. Parts of this poem can be read by two voices at the same time. Words in blue that can be spoken by the two speakers together. Mark the rest of the poem to decide how you would have two people read lines at the same time. ABOUT THE AUTHOR Paul Fleischman, who writes historical fiction and drama as well as poetry, loves to make a connection between writing and music, as he does in “Fireflies.” He won the Newbery Medal in 1989 for Joyful Noise: Poems for Two Voices. Poetry Fireflies A Poem for Two Voices by Paul Fleischman WORD Light Light © 2014 College Board. All rights reserved. Night is the ink we use CONNECTIONS is our parchment Night We’re re iesWord Relationships re ies itting ickeringLooking for the relationships re ies ashingamong words can help you glimmering re iesmake meaning. For example, fly, glowing gleamingflying, and flight have similar Insect calligraphers Insect calligraphersmeanings. Other relationships practicing penmanship copying sentencesmay be shown with different Six-legged scribblers Six-legged scribblerswords that have similar of vanishing messages, eeting gra timeanings. What do copying, Fine artists in ight Fine artists in ightscribblers, and signing have in adding dabs of light bright brush strokescommon? Signing the June nights Signing the June nights as if they were paintings as if they were paintings ickering We’re re ies re ies re ies. ickering re ies.288 SpringBoard® English Language Arts Grade 6
After Reading ACTIVITY 4.12 continued 5. Prepare to deliver your choral reading. Reread your lines aloud multiple times to improve your fluency. My Notes 6. Rehearse your performance with your partner or group. As you rehearse: • Deliver a choral reading of your poem until it is smooth and effective. • Practice your lines with an effective rate, inflection, and tone. • Use facial expressions and eye contact appropriate for your lines. • Practice delivering your poem with props. When it is your turn, perform your poem. Check Your Understanding As your classmates deliver their choral readings, listen closely to comprehend the tone and meaning of each poem. Also evaluate each speaker’s rate and inflection for how they added to your understanding. Use the graphic organizer below to compare and contrast the experience of reading the poems to hearing and seeing them performed. Be sure to included responses to these questions in your comparison: • What was your understanding of the poem from reading it alone? • How did your understanding change during group discussions and preparing for a choral reading? • How did the live performance change your understanding? Reading Poem Listening to Performance© 2014 College Board. All rights reserved. INDEPENDENT READING LINK Choose lines from the play you are reading independently to rehearse and deliver to a partner. Focus on communicating meaning through your delivery rate, inflection, tone, facial expressions, and eye contact. Unit 4 • The Final Act 289
ACTIVITY Previewing the Play4.13LEARNING STRATEGIES: Learning TargetsDiffusing, Marking the Text,Paraphrasing, Summarizing, • Analyze visual and informational texts and make predictions about theRole Playing characters, plot, and conflict of a drama.My Notes • Analyze dialogue to understand character and plot. The Taming of the Shrew 1. Look closely at this illustration of a scene from The Taming of the Shrew. What does this picture communicate about the play’s setting, characters, conflict, and plot? 2. As you read the text that follows, highlight and underline important information © 2014 College Board. All rights reserved. that tells you about the plot, characters, action, and conflict of the play you are to read.290 SpringBoard® English Language Arts Grade 6
ACTIVITY 4.13 continued Plot Summary: The Taming of the Shrew My Notes Shakespeare wrote the comedy The Taming of the Shrew toward the beginning of his career (1590). The play is set in Padua, Italy, where a wealthy old man, Baptista, has two daughters of marriageable age. His younger daughter, Bianca, is beautiful and well-mannered, so men such as Gremio and Hortensio, suitors for her hand in marriage, are attracted to her. His older daughter, Katherine, is also beautiful, but she is ill-tempered and a shrew (a woman of violent temper), so men are not as attracted to her. Baptista will not allow Bianca to get married until someone marries Katherine. Petruchio, an arrogant young man from Verona, decides he will marry Katherine for her money—whether she likes it or not—and her father agrees to the match. Petruchio then manages to woo and win Kate’s heart and obedience so that they live happily ever after. Cast of Characters Character Pronunciation Description Katherine and Bianca’s father, a wealthy old man Baptista Minola [bap-TEES-tuh] Baptista’s older daughter; the shrew Katherine [kat-ah-REE-nuh] Baptista’s younger daughter Bianca [bee-AN-kuh] A young man from Verona who wants to marry Katherine Petruchio [peh-TROOK-ee-oh] Petruchio’s servant Grumio [GROOM-ee-oh] A rich young man from Pisa who wants to marry Bianca (later Lucentio [loo-CHEN-seeo] disguised as the teacher Cambio) Lucentio’s servant (later disguised as Lucentio)© 2014 College Board. All rights reserved. Tranio [TRAH-neeoh] Biondello [bee-yawn-DELL-oh] Lucentio’s servant Hortensio [hor-TEN-shee-oh] A young man who wants to marry Bianca (later disguised as the Gremio [GREEM-ee-oh] teacher Litio); friend of Petruchio A rich and ridiculous old man who wants to marry Bianca 3. Define comedy as the opposite of tragedy. 4. Why do you think “taming” a shrew would be a comedy? Unit 4 • The Final Act 291
Previewing the PlayACTIVITY 4.13continuedIntroducing the Conflict5. Read the following scene from Act I of Taming of the Shrew. As you read, look at the underlined words and their meaning in modern English.Hortensio: (a young man who wants to marry I pray = please; may I ask © 2014 College Board. All rights reserved.Bianca) . . . Signior Gremio; but a word, I pray. Though the quarrel = reason for hostilitynature of our quarrel yet never brooked parle, know now, brooked parle = allowed for discussionupon advice, it toucheth us both (that we may yet again advice = careful considerationhave access to our fair mistress and be happy rivals in toucheth = concernsBianca’s love) to labor and effect one thing specially. labor and effect = strive for and achieveGremio: (a rich old man who wants to marry Bianca) What’s Marry = listen, I agree, well, indeedthat, I pray? Think’st thou = do you imagineHortensio: Marry, sir, to get a husband for her sister. Tush = an exclamation of disapprovalGremio: A husband? a devil! alarums = noises; disturbances light on = findHortensio: I say “a husband.” and = if (there were) had as lief = would just as soonGremio: I say “a devil.” Think’st thou, Hortensio, though dowry = the money, goods, or estate that a wifeher father be very rich, any man is so very a fool to be brings to her husband at marriagemarried to hell? whipped at the high cross = an allusion (reference) to a cruel mode of punishmentHortensio: Tush, Gremio. Though it pass your patience and Faith = an emphatic expression used to confirm anmine to endure her loud alarums, why, man, there be good ideafellows in the world, an a man could light on them, would bar in law = legal barrier (Baptista’s “law”)take her with all faults, and money enough. have to’t afresh = compete (become rivals) again Happy man be his dole! = may the man findGremio: I cannot tell; but I had as lief take her dowry happinesswith this condition: to be whipped at the high cross every would I had = I wish I hadmorning. wooing = trying to win a woman to marriageHortensio: Faith, as you say, there’s small choice inrotten apples. But, come; since this bar in law makes usfriends, it shall be so far forth friendly maintained till byhelping Baptista’s eldest daughter to a husband we sethis youngest free for a husband, and then have to’t afresh.Sweet Bianca! Happy man be his dole! He that runs fastestgets the ring. How say you, Signior Gremio?Gremio: I am agreed; and would I had given him the besthorse in Padua to begin his wooing that would thoroughlywoo her, wed her, and rid the house of her! Come on.Gremio and Hortensio exit292 SpringBoard® English Language Arts Grade 6
6. With a partner, reread the dialogue in the scene carefully. Paraphrase the text to ACTIVITY 4.13 show your understanding of this scene. continued My Notes 7. Reread the lines of your assigned character, mark the punctuation, and annotate the text to show how the punctuation affects an oral delivery (i.e., rate, inflection, volume, tone). Role-play with a partner. Be sure to focus on all elements of your oral delivery. Check Your Understanding Briefly summarize the excerpt on the preceding page. What does the dialogue reveal about Katherine? What does the dialogue reveal about Baptista? What conflict is being set up?© 2014 College Board. All rights reserved. Unit 4 • The Final Act 293
ACTIVITY Guided Reading of The Taming of the Shrew4.14LEARNING STRATEGIES: Learning TargetPreviewing, Sketching,Visualizing, Predicting, • Analyze and rehearse an excerpt from The Taming of the Shrew to present anRereading, Close Reading, oral interpretation of the scene.Marking the Text, Rehearsal,Oral Interpretation Before Reading 1. Preview the text and review the major feature of a play. What are the unique features of a drama?My Notes 2. Make predictions. © 2014 College Board. All rights reserved. • How will Petruchio attempt to tame the shrew? • Will Petruchio successfully tame Katherine by the end of the play? During Reading 3. As you read, analyze Shakespeare’s use of diction, syntax, and rhetorical devices. Mark the text to show your thinking and to write the modern English version of words to help you make meaning of each scene. Drama The Taming of the Shrew by William Shakespeare Chunk 1 Act I, Scene II Padua. Before HORTENSIO’S house Enter PETRUCHIO and his man GRUMIO, and HORTENSIO Hortensio: Petruchio, shall I then come roundly to thee And wish thee to a shrewd ill-favour’d wife? ou’dst thank me but a little for my counsel. And yet I’ll promise thee she shall be rich, And very rich : but thou’rt too much my friend, And I’ll not wish thee to her. Petruchio: Signior Hortensio, ‘twixt such friends as we Few words su ce; and therefore, if thou know One rich enough to be Petruchio’s wife, As wealth is burden of my wooing dance,294 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Be she as foul as was Florentius’ love, ACTIVITY 4.14 As old as Sibyl, and as curst and shrewd continued As Socrates’ Xanthippe or a worse, She moves me not, or not removes, at least My Notes A ection’s edge in me, were she as rough As are the swelling Adriatic seas. Unit 4 • The Final Act 295 I come to wive it wealthily in Padua; If wealthily, then happily in Padua. Grumio: Nay, look you, sir, he tells you atly what his mind is. Why, give him gold enough and marry him to a puppet or an aglet-baby, or an old trot with ne’er a tooth in her head, though she have as many diseases as two and y horses. Why, nothing comes amiss, so money comes withal. Hortensio: Petruchio, since we are stepp’d thus far in, I will continue that I broach’d in jest. I can, Petruchio, help thee to a wife With wealth enough, and young and beauteous; Brought up as best becomes a gentlewoman; Her only fault, and that is faults enough, Is that she is intolerable curst, And shrewd and froward so beyond all measure at, were my state far worser than it is, I would not wed her for a mine of gold. Chunk 2 Petruchio: Hortensio, peace. ou know’st not gold’s e ect. Tell me her father’s name, and ‘tis enough; For I will board her though she chide as loud As thunder when the clouds in autumn crack. Hortensio: Her father is Baptista Minola, An a able and courteous gentleman; Her name is Katherine Minola, Renown’d in Padua for her scolding tongue. Petruchio. I know her father, though I know not her; And he knew my deceased father well. I will not sleep, Hortensio, till I see her; And therefore let me be thus bold with you To give you over at this rst encounter— Unless you will accompany me thither. Grumio: [to Hortensio] I pray you, sir, let him go while the humour lasts. O’ my word, and she knew him as well as I do, she would think scolding would do little good upon him. She may perhaps call him half a score knaves or so. Why, that’s nothing; an he begin once, he’ll rail in his rope-tricks. I’ll tell you what, sir: an she stand him but a little, he will throw a gure in
Guided Reading of The Taming ofACTIVITY 4.14the ShrewcontinuedMy Notes her face, and so dis gure her with it that she shall have no more eyes to see withal than a cat. You know him not, sir. © 2014 College Board. All rights reserved. . . . Enter Gremio and Lucentio (disguised as Cambio) Hortensio: Gremio, ‘tis now no time to vent our love. Listen to me, and if you speak me fair I’ll tell you news indi erent good for either. [Presenting Petruchio.] Here is a gentleman whom by chance I met, Upon agreement from us to his liking, Will undertake to woo curst Katherine, Yea, and to marry her, if her dowry please. Gremio: So said, so done, is well. Hortensio, have you told him all her faults? Petruchio: I know she is an irksome brawling scold. If that be all, masters, I hear no harm. Chunk 3 Gremio: No, sayst me so, friend? What countryman? Petruchio: Born in Verona, old Antonio’s son. My father dead, my fortune lives for me, And I do hope good days and long to see. Gremio: Oh, Sir, such a life with such a wife were strange. But if you have a stomach, to’t, i’ a God’s name! You shall have me assisting you in all. But will you woo this wild-cat? Petruchio: Will I live? Grumio: Will he woo her? Ay, or I’ll hang her. Petruchio: Why came I hither but to that intent? ink you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea, pu ed up with winds, Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the eld, And heaven’s artillery thunder in the skies? Have I not in a pitched battle heard Loud ‘larums, neighing steeds, and trumpets’ clang? And do you tell me of a woman’s tongue, at gives not half so great a blow to hear As will a chestnut in a farmer’s re? Tush! tush! fear boys with bugs. Grumio: For he fears none. Act II, Scene I Padua. BAPTISTA’S house Enter KATHERINE and BIANCA (with her hands tied)296 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Bianca. Good sister, wrong me not, nor wrong yourself, ACTIVITY 4.14 To make a bondmaid and a slave of me. continued at I disdain; but for these other goods— My Notes Unbind my hands, I’ll pull them o myself, Yea, all my raiment, to my petticoat, Unit 4 • The Final Act 297 Or what you will command me will I do, So well I know my duty to my elders. Chunk 4 Katherine: Of all thy suitors here I charge thee tell Whom thou lov’st best. See thou dissemble not. Bianca: Believe me, sister, of all the men alive I never yet beheld that special face Which I could fancy more than any other. Katherine: Minion, thou liest. Is’t not Hortensio? Bianca: If you a ect him, sister, here I swear I’ll plead for you myself but you shall have him. Katherine: O then, belike, you fancy riches more: You will have Gremio to keep you fair. Bianca: Is it for him you do envy me so? Nay, then you jest; and now I well perceive You have but jested with me all this while. I prithee, sister Kate, untie my hands. Katherine: [Strikes her] If that be jest, then all the rest was so. Enter BAPTISTA Baptista: Why, how now, dame! Whence grows this insolence? Bianca, stand aside—poor girl, she weeps! [He unties her hands.] [to Bianca] Go ply thy needle; meddle not with her. [to Katherine] For shame, thou hilding of a devilish spirit, Why dost thou wrong her that did ne’er wrong thee? When did she cross thee with a bitter word? Chunk 5 Katherine: Her silence outs me, and I’ll be revenged! [She ies a er BIANCA.] Baptista: What, in my sight? Bianca, get thee in. Exit BIANCA Katherine: What, will you not su er me? Nay, now I see She is your treasure, she must have a husband; I must dance bare-foot on her wedding-day, And, for your love to her, lead apes in hell. Talk not to me; I will go sit and weep Till I can nd occasion of revenge. Exit KATHERINE
Guided Reading of The Taming ofACTIVITY 4.14the ShrewcontinuedMy Notes Baptista: Was ever gentleman thus grieved as I? But who comes here? Character Name Enter GREMIO, with LUCENTIO in the habit of a mean man; PETRUCHIO, Appearance with HORTENSIO as a musician; and TRANIO, as LUCENTIO, with his boy, Actions BIONDELLO, bearing a lute and books Words and Tone Gremio: Good morrow, neighbor Baptista. Thoughts and Feelings Baptista: Good morrow, neighbor Gremio. Others’ Reactions God save you, gentlemen. Petruchio: And you, good sir. Pray, have you not a daughter Called Katherine, fair and virtuous? Baptista: I have a daughter, sir, called Katherine. Gremio: [to Petruchio] You are too blunt; go to it orderly. Petruchio: You wrong me, Signior Gremio; give me leave. I am a gentleman of Verona, sir, at, hearing of her beauty and her wit, Her a ability and bashful modesty, Her wondrous qualities and mild behavior, Am bold to show myself a forward guest Within your house, to make mine eye the witness Of that report which I so o have heard . . . After Reading 4. Conduct a close reading to analyze your assigned character based on what the text says explicitly as well as what you infer from the text. Record your analysis and evidence in the graphic organizer. Analysis Textual Evidence © 2014 College Board. All rights reserved. 5. How does Shakespeare develop the point of view of each character in the scene?298 SpringBoard® English Language Arts Grade 6
6. What is the theme or central idea of the scene? How does Shakespeare convey ACTIVITY 4.14 this idea? continued Plan a Performance INDEPENDENT READING LINK 7. Now that you have a deeper understanding of your character and the scene, Complete the following for plan a performance. the play you have chosen. • Sketch a tableau that • Annotate the text to indicate how you would orally deliver each of your lines: Determine an accurate and effective rate, rhythm, inflection, and tone. shows the relationships among characters in • Annotate the text to indicate how you would physically deliver each of your the play. lines: Determine accurate and effective eye contact, facial expressions, • Analyze the diction, and movement. syntax, and rhetorical devices used by the • Complete the graphic organizer below to indicate how you could enhance writer for effect. Do you the delivery of your lines through the use of objects and background sound notice any patterns? or images. • Analyze your favorite character. Element of Performance Description • Determine the central Props idea or theme of the play. Sound or Images Explanation 8. Set goals for your oral interpretation and rehearse until your group feels confident that you have met your goals. Remember, Shakespeare’s lines are My Notes often written in iambic pentameter (10 unstressed/stressed beats per line). As© 2014 College Board. All rights reserved. you discuss your scene and rehearse, keep the following in mind: • Understand ideas: Ask questions for clarification when necessary. • Explore ideas: Challenge your classmates to think in a different way or on a deeper level. • Reflect on the strength of ideas under discussion. Offer ideas to strengthen the presentation. 9. When it is your turn, deliver your presentation. After your presentation, reflect on your performance and what you may need to do to prepare for the performance for the Embedded Assessment. Check Your Understanding As each group performs, write a summary of your interpretation of the scene. Listen carefully to comprehend meaning, and use verbal and visual clues to help you understand the performance. Unit 4 • The Final Act 299
ACTIVITY One Text, Two Perspectives4.15LEARNING STRATEGIES: Learning TargetGraphic Organizer, Rereading,Close Reading, Note-taking • Analyze scenes from a film version of Shakespeare’s The Taming of the Shrew and explain how the play and the film are similar and different.My Notes 1. As you view scenes from the play, compare and contrast Shakespeare’s play with the 1967 film version. Take notes in the graphic organizer below. The Play The Film Setting Characters Conflict/Plot Theme 2. Compare and contrast the experience of reading a drama to viewing a film version of the text. Check Your Understanding Expository Writing Prompt: Explain how Shakespeare’s and the director’s approach to the same topic and theme are similar and different. Be sure to: • Establish a controlling, or central, idea. • Organize information using the compare/contrast strategy. • Provide relevant information and examples. • Use literary terms and/or academic vocabulary to inform or explain. © 2014 College Board. All rights reserved.300 SpringBoard® English Language Arts Grade 6
Performing Shakespeare EMBEDDED ASSESSMENT 2© 2014 College Board. All rights reserved. Assignment My Notes Work collaboratively to prepare and present a reader’s theater performance of a Technology TIP: scene from Shakespeare’s play The Taming of the Shrew. Your performance should If possible, videotape one have a clear beginning, middle, and end. of your rehearsals in order to review and refine your Planning: Take time to make a plan for your performance. performance. • Who will be the members of your group, and what will you name your acting Unit 4 • The Final Act 301 company? • How will you choose a director and divide the lines fairly among the actors? Analyzing: Read your script carefully for understanding and character analysis. • How can you work collaboratively to make meaning of the text? • How will you (as an actor) work independently to further analyze your character? • How will you (as the director) support the actors in their character analysis? Preparing and Rehearsing: Create and revise a performance plan. • How will you (as an actor) learn your lines and create cue cards to aid memorization and performance? • How will you (as the director) draft an introduction and conclusion and help the actors to prepare? • How will you work collaboratively to revise and polish your performance plan? Evaluating and Performing: Create opportunities to review and rehearse your presentations. • How can the Scoring Guide help you evaluate how well you are prepared to meet the requirements of the assignment? • How will you use oral, physical and visual elements to engage your audience? • How will you take notes during the other students’ presentations to compare and contrast their interpretations with your own? Reflection After completing this Embedded Assessment, think about how you went about accomplishing this task, and respond to the following: • How did students perform the same characters differently? Which choices did you think were most effective and engaging? • If you were to perform a Shakespearean scene again, what would you do differently?
EMBEDDED Performing ShakespeareASSESSMENT 2My Notes Group 1 Act II, Scene I: Padua. BAPTISTA’S house © 2014 College Board. All rights reserved. Exit all but PETRUCHIO . . . [Enter KATHERINE] Petruchio: Good morrow, Kate—for that’s your name, I hear. Katherine: Well have you heard, but something hard of hearing: ey call me Katherine that do talk of me. Petruchio: You lie, in faith, for you are call’d plain Kate, And bonny Kate, and sometimes Kate the curst; But, Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate, For dainties are all Kates, and therefore, Kate, Take this of me, Kate of my consolation— Hearing thy mildness prais’d in every town, y virtues spoke of, and thy beauty sounded, Yet not so deeply as to thee belongs, Myself am mov’d to woo thee for my wife. Katherine: Mov’d! in good time! Let him that mov’d you hither Remove you hence. Petruchio: Alas, good Kate, I will not burden thee! For, knowing thee to be but young and light— Katherine: Too light for such a swain as you to catch; And yet as heavy as my weight should be. Petruchio: Should be! should—buzz! Katherine: Well ta’en, and like a buzzard. Petruchio: O, slow-wing’d turtle, shall a buzzard take thee? Katherine: Ay, for a turtle, as he takes a buzzard. Petruchio: Come, come, you wasp; i’ faith, you are too angry. Katherine: If I be waspish, best beware my sting. Petruchio: My remedy is then to pluck it out. Katherine: Ay, if the fool could nd it where it lies. Petruchio: Who knows not where a wasp does wear his sting? Katherine: In his tongue. Petruchio: Whose tongue? Katherine: Yours, if you talk of tales; and so farewell. Petruchio: Nay, come again, Good Kate; I am a gentleman. Katherine: at I’ll try. [She strikes him] Petruchio: I swear I’ll cu you, if you strike again. Katherine: So may you lose your arms. If you strike me, you are no gentleman; And if no gentleman, why then no arms.302 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Group 2 EMBEDDED ASSESSMENT 2 Petruchio: Nay, come, Kate, come; you must not look so sour. My Notes Katherine: It is my fashion, when I see a crab. Petruchio: Why, here’s no crab; and therefore look not sour: Unit 4 • The Final Act 303 Katherine: ere is, there is. Petruchio: en show it me. Katherine: Had I a glass I would. Petruchio: What, you mean my face? Katherine: Well aim’d of such a young one. Petruchio: Now, by Saint George, I am too young for you. Katherine: Yet you are wither’d. Petruchio: ‘Tis with cares. Katherine: I care not. Petruchio: Nay, hear you, Kate—in sooth, you scape not so. Katherine: I chafe you, if I tarry; let me go. Petruchio: No, not a whit; I nd you passing gentle. ‘Twas told me you were rough, and coy, and sullen, And now I nd report a very liar; For thou art pleasant, gamesome, passing courteous, But slow in speech, yet sweet as springtime owers. ou canst not frown, thou canst not look askance, Nor bite the lip, as angry wenches will, Nor hast thou pleasure to be cross in talk; But thou with mildness entertain’st thy wooers; With gentle conference, so and a able. Why does the world report that Kate doth limp? O sland’rous world! Kate like the hazel-twig Is straight and slender, and as brown in hue As hazel-nuts, and sweeter than the kernels. O, let me see thee walk. ou dost not halt. Katherine: Go, fool, and whom thou keep’st command. Petruchio: Did ever Dian so become a grove As Kate this chamber with her princely gait? O, be thou Dian, and let her be Kate; And then let Kate be chaste, and Dian sportful! Katherine: Where did you study all this goodly speech? Petruchio: It is extempore, from my mother wit. Katherine: A witty mother! witless else her son. Petruchio: Marry, so I mean, sweet Katherine. And therefore, setting all this chat aside,
EMBEDDED Performing ShakespeareASSESSMENT 2My Notes us in plain terms: your father hath consented at you shall be my wife your dowry greed on; And will you, nill you, I will marry you. © 2014 College Board. All rights reserved. Now, Kate, I am a husband for your turn; For, by this light, whereby I see thy beauty, y beauty that doth make me like thee well, ou must be married to no man but me; For I am he am born to tame you, Kate, And bring you from a wild Kate to a Kate Conformable as other household Kates. [Re-enter BAPTISTA, GREMIO, and TRANIO] Here comes your father. Never make denial; I must and will have Katherine to my wife. Group 3 Act III, Scene II: Padua. Before BAPTISTA’S house Baptista Minola: Is he come? Biondello: Why, no, sir. Baptista Minola: What then? Biondello: He is coming. Baptista Minola: When will he be here? Biondello: When he stands where I am and sees you there. Tranio: But say, what to thine old news? Biondello: Why, Petruchio is coming in a new hat and an old jerkin; a pair of old breeches thrice turn’d; a pair of boots that have been candle-cases, one buckled, another lac’d; an old rusty sword ta’en out of the town armoury, with a broken hilt, and chapeless; with two broken points; his horse hipp’d, with an old motley saddle and stirrups of no kindred . . . Enter PETRUCHIO and GRUMIO Petruchio: Come, where be these gallants? Who’s at home? Baptista Minola: You are welcome, sir. Petruchio: And yet I come not well. Baptista Minola: And yet you halt not. Tranio: Not so well apparell’d As I wish you were. Petruchio: Were it better, I should rush in thus. But where is Kate? Where is my lovely bride? How does my father? Gentles, methinks you frown; And wherefore gaze this goodly company As if they saw some wondrous monument, Some comet or unusual prodigy?304 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Baptista Minola: Why, sir, you know this is your wedding-day. EMBEDDED First were we sad, fearing you would not come; ASSESSMENT 2 Now sadder, that you come so unprovided. My Notes Fie, do this habit, shame to your estate, An eye-sore to our solemn festival! Unit 4 • The Final Act 305 [a er the wedding] Enter PETRUCHIO, KATHERINE, BIANCA, BAPTISTA, HORTENSIO, GRUMIO, and train Petruchio: Gentlemen and friends, I thank you for your pains. I know you think to dine with me to-day, And have prepar’d great store of wedding cheer But so it is—my haste doth call me hence, And therefore here I mean to take my leave. Baptista Minola: Is’t possible you will away to-night? Petruchio: I must away to-day before night come. Make it no wonder; if you knew my business, You would entreat me rather go than stay. And, honest company, I thank you all at have beheld me give away myself To this most patient, sweet, and virtuous wife. Dine with my father, drink a health to me. For I must hence; and farewell to you all. Group 4 Tranio: Let us entreat you stay till a er dinner. Petruchio: It may not be. Gremio: Let me entreat you. Petruchio: It cannot be. Katherine: Let me entreat you. Petruchio: I am content. Katherine: Are you content to stay? Petruchio: I am content you shall entreat me stay; But yet not stay, entreat me how you can. Katherine: Now, if you love me, stay. Petruchio: Grumio, my horse. Grumio: Ay, sir, they be ready; the oats have eaten the horses. Katherine: Nay, then, Do what thou canst, I will not go to-day; No, nor to-morrow, not till I please myself. e door is open, sir; there lies your way; You may be jogging whiles your boots are green; For me, I’ll not be gone till I please myself.
EMBEDDED Performing ShakespeareASSESSMENT 2My Notes ‘Tis like you’ll prove a jolly surly groom at take it on you at the rst so roundly. © 2014 College Board. All rights reserved. Petruchio: O Kate, content thee; prithee be not angry. Katherine: I will be angry; what hast thou to do? Father, be quiet; he shall stay my leisure. Gremio: Ay, marry, sir, now it begins to work. Katherine: Gentlemen, forward to the bridal dinner. I see a woman may be made a fool If she had not a spirit to resist. Petruchio: ey shall go forward, Kate, at thy command. Obey the bride, you that attend on her; Go to the feast, revel and domineer, Carouse full measure; Be mad and merry, or go hang yourselves. But for my bonny Kate, she must with me. Nay, look not big, nor stamp, nor stare, nor fret; I will be master of what is mine own— She is my goods, my chattels, she is my house, My household stu , my eld, my barn, My horse, my ox, my ass, my anything, And here she stands; touch her whoever dare; I’ll bring mine action on the proudest he at stops my way in Padua. Grumio, Draw forth thy weapon; we are beset with thieves; Rescue thy mistress, if thou be a man. Fear not, sweet wench; they shall not touch thee, Kate; I’ll buckler thee against a million. Exit PETRUCHIO, KATHERINE, and GRUMIO Group 5 Baptista Minola: Nay, let them go, a couple of quiet ones. Gremio: Went they not quickly, I should die with laughing. Tranio: Of all mad matches, never was the like. Lucentio: Mistress, what’s your opinion of your sister? Bianca: at, being mad herself, she’s madly mated. Gremio: I warrant him, Petruchio is Kated. Group 3 Act IV, Scene I: PETRUCHIO’S country house Enter PETRUCHIO and KATHERINE Petruchio: Where be these knaves? What, no man at door To hold my stirrup nor to take my horse!306 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Where is Nathaniel, Gregory, Philip? EMBEDDED Servants: Here, here, sir; here, sir. ASSESSMENT 2 Petruchio: Here, sir! here, sir! here, sir! here, sir! My Notes You logger-headed and unpolish’d grooms! What, no attendance? no regard? no duty? Unit 4 • The Final Act 307 Where is the foolish knave I sent before? Grumio: Here, sir; as foolish as I was before. Petruchio: YOU peasant swain! You malt-horse drudge! Go, rascals, go and fetch my supper in. [Exit some of the SERVINGMEN] [Sings] Where is the life that late I led? Where are those— Sit down, Kate, and welcome. Katherine: Patience, I pray you; ‘twas a fault unwilling. Petruchio: A beetle-headed, ap-ear’d knave! Come, Kate, sit down; I know you have a stomach. Will you give thanks, sweet Kate, or else shall I? What’s this? Mutton? First Servant: Ay. Petruchio: Who brought it? Peter: I. Petruchio: ‘Tis burnt; and so is all the meat. What dogs are these? Where is the rascal cook? How durst you villains bring it from the dresser And serve it thus to me that love it not? ere, take it to you, trenchers, cups, and all; [ rows the meat, etc., at them] You heedless joltheads and unmanner’d slaves! What, do you grumble? I’ll be with you straight. [Exit SERVANTS] Katherine: I pray you, husband, be not so disquiet; e meat was well, if you were so contented. Petruchio: I tell thee, Kate, ‘twas burnt and dried away, And I expressly am forbid to touch it; For it engenders choler, planteth anger; And better ‘twere that both of us did fast, Since, of ourselves, ourselves are choleric, an feed it with such over-roasted esh. Be patient; to-morrow ‘t shall be mended. And for this night we’ll fast for company. [Exit]
EMBEDDED Performing ShakespeareASSESSMENT 2My Notes Group 6 Re-enter SERVANTS severally © 2014 College Board. All rights reserved. Nathaniel: Peter, didst ever see the like? Peter: He kills her in her own humour. Re-enter PETRUCHIO Petruchio: us have I politicly begun my reign, And ‘tis my hope to end successfully. My falcon now is sharp and passing empty. And till she stoop she must not be full-gorg’d, She eat no meat to-day, nor none shall eat; Last night she slept not, nor to-night she shall not; As with the meat, some undeserved fault I’ll nd about the making of the bed; And here I’ll ing the pillow, there the bolster, is way the coverlet, another way the sheets; Ay, and amid this hurly I intend at all is done in reverend care of her— And, in conclusion, she shall watch all night; And if she chance to nod I’ll rail and brawl And with the clamour keep her still awake. is is a way to kill a wife with kindness, And thus I’ll curb her mad and headstrong humour. He that knows better how to tame a shrew, Now let him speak; ‘tis charity to show. [Exit] Act IV, Scene III: PETRUCHIO’S house Enter KATHERINE and GRUMIO Katherine: e more my wrong, the more his spite appears. What, did he marry me to famish me? Beggars that come unto my father’s door Upon entreaty have a present alms; If not, elsewhere they meet with charity; But I, who never knew how to entreat, Nor never needed that I should entreat, Am starv’d for meat, giddy for lack of sleep; With oaths kept waking, and with brawling fed; And that which spites me more than all these wants— He does it under name of perfect love; As who should say, if I should sleep or eat, ‘Twere deadly sickness or else present death. I prithee go and get me some repast; I care not what, so it be wholesome food.308 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Group 7 EMBEDDED ASSESSMENT 2 Enter PETRUCHIO, and HORTENSIO with meat My Notes Petruchio: How fares my Kate? What, sweeting, all amort? Hortensio: Mistress, what cheer? Unit 4 • The Final Act 309 Katherine: Faith, as cold as can be. Petruchio: Pluck up thy spirits, look cheerfully upon me. Here, love, thou seest how diligent I am, To dress thy meat myself, and bring it thee. I am sure, sweet Kate, this kindness merits thanks. What, not a word? Nay, then thou lov’st it not, And all my pains is sorted to no proof. Here, take away this dish. Katherine: I pray you, let it stand. Petruchio: e poorest service is repaid with thanks; And so shall mine, before you touch the meat. Katherine: I thank you, sir. Hortensio: Signior Petruchio, e! you are to blame. Come, Mistress Kate, I’ll bear you company. Petruchio: [Aside] Eat it up all, Hortensio, if thou lovest me.— Much good do it unto thy gentle heart! Kate, eat apace. And now, my honey love, Will we return unto thy father’s house And revel it as bravely as the best, With silken coats and caps, and golden rings, With ru s and cu s and farthingales and things, With scarfs and fans and double change of brav’ry. With amber bracelets, beads, and all this knav’ry. What, hast thou din’d? e tailor stays thy leisure, To deck thy body with his ru ing treasure. [Petruchio tempts Kate with fancy clothing and accessories and then takes it all away—claiming that it is not good enough.] Petruchio: Well, come, my Kate; we will unto your father’s Even in these honest mean habiliments; Our purses shall be proud, our garments poor; For ‘tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. What, is the jay more precious than the lark Because his feathers are more beautiful? Or is the adder better than the eel Because his painted skin contents the eye? O no, good Kate; neither art thou the worse
EMBEDDED Performing ShakespeareASSESSMENT 2My Notes For this poor furniture and mean array. If thou account’st it shame, lay it on me; And therefore frolic; we will hence forthwith © 2014 College Board. All rights reserved. To feast and sport us at thy father’s house... Group 8 Act IV, Scene V: A public road Enter PETRUCHIO, KATHERINE, HORTENSIO, and SERVANTS Petruchio: Come on, a God’s name; once more toward our father’s. Good Lord, how bright and goodly shines the moon! Katherine: e moon? e sun! It is not moonlight now. Petruchio: I say it is the moon that shines so bright. Katherine: I know it is the sun that shines so bright. Petruchio: Now by my mother’s son, and that’s myself, It shall be moon, or star, or what I list, Or ere I journey to your father’s house. Go on and fetch our horses back again. Evermore cross’d and cross’d; nothing but cross’d! Hortensio: Say as he says, or we shall never go. Katherine: Forward, I pray, since we have come so far, And be it moon, or sun, or what you please; And if you please to call it a rush-candle, Henceforth I vow it shall be so for me. Petruchio: I say it is the moon. Katherine: I know it is the moon. Petruchio: Nay, then you lie; it is the blessed sun. Katherine: en, God be bless’d, it is the blessed sun; But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it nam’d, even that it is, And so it shall be so for Katherine. Hortensio: Petruchio, go thy ways, the eld is won. Act V, Scene II: LUCENTIO’S house Enter BAPTISTA, VINCENTIO, GREMIO, the PEDANT, LUCENTIO, BIANCA, PETRUCHIO, KATHERINE, HORTENSIO, and WIDOW. e SERVINGMEN with TRANIO, BIONDELLO, and GRUMIO, bringing in a banquet [a er Bianca’s wedding to Lucentio]. Baptista Minola: Now, in good sadness, son Petruchio, I think thou hast the veriest shrew of all.310 SpringBoard® English Language Arts Grade 6
Petruchio: Well, I say no; and therefore, for assurance, EMBEDDED Let’s each one send unto his wife, ASSESSMENT 2 And he whose wife is most obedient, To come at rst when he doth send for her, My Notes Shall win the wager which we will propose. Hortensio: Content. What’s the wager? Lucentio: Twenty crowns. Petruchio: Twenty crowns? I’ll venture so much of my hawk or hound, But twenty times so much upon my wife. Lucentio: A hundred then. Hortensio: Content. Petruchio: A match! ‘tis done. [Petruchio wins the bet: Katherine proves to be the most obedient wife.] Lucentio: Here is a wonder, if you talk of a wonder. Hortensio: And so it is. I wonder what it bodes. Petruchio: Marry, peace it bodes, and love, and quiet life, An awful rule, and right supremacy; And, to be short, what not that’s sweet and happy. Baptista Minola: Now fair befall thee, good Petruchio! e wager thou hast won; and I will add Unto their losses twenty thousand crowns; Another dowry to another daughter, For she is chang’d, as she had never been.© 2014 College Board. All rights reserved. Unit 4 • The Final Act 311
EMBEDDED Performing ShakespeareASSESSMENT 2SCORING GUIDEScoring Exemplary Proficient Emerging IncompleteCriteriaIdeas The performance The performance The performance The performance • demonstrates a deep • demonstrates • demonstrates a • demonstrates little or understanding of a an adequate partial or flawed no understanding of a scene and characters understanding of a understanding of a scene and characters • uses a variety scene and characters scene and characters • lacks physical and/or of physical and • uses some physical • uses distracting or visual elements visual elements and visual elements basic physical and • does not show (facial expressions, (facial expressions, visual elements evidence of planning, movement, props or movement, props or (facial expressions, rehearsal, and background sounds/ background sounds/ movement, props or reflection. images) effectively images) to convey background sounds/ • shows evidence of meaning images) extensive planning, • shows evidence of • shows evidence rehearsal, and sufficient planning, of ineffective or reflection. rehearsal, and insufficient planning, reflection. rehearsal, and reflection.Structure The performance The performance The performance The performance • demonstrates • demonstrates • demonstrates • demonstrates a strong evidence of adequate evidence of uneven or ineffective failure to collaborate collaboration collaboration collaboration • depicts a scene that • depicts a significant • depicts a scene with • depicts a scene with scene with a clear a beginning, middle, an unclear beginning, is too short beginning, middle, and end middle, and/or end • lacks an introduction and end • provides an • provides a weak • provides an engaging introduction and introduction and/or and/or conclusion. introduction and conclusion. conclusion. conclusion. © 2014 College Board. All rights reserved.Use of The performer The performer The performer The performerLanguage • demonstrates • demonstrates • demonstrates • demonstrates flawed effective oral adequate oral inadequate oral or ineffective oral interpretation interpretation interpretation skills interpretation skills skills, including eye skills, including eye • uses punctuation • does not recognize contact, volume, rate, contact, volume, rate, cues (periods, punctuation cues, inflection, tone, and inflection, tone, and commas, semi- or uses them rhythm rhythm colons, dashes, incorrectly. • uses punctuation • uses some exclamation cues (periods, punctuation cues points) unevenly or commas, semi- (periods, commas, inconsistently. colons, dashes, semicolons, dashes, exclamation points) exclamation points) accurately and to inform vocal consistently to inform delivery. vocal delivery.312 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved.Resources
SpringBoard Learning Strategies READING STRATEGIES STRATEGY DEFINITION PURPOSEChunking the TextClose Reading Breaking the text into smaller, To reduce the intimidation factor whenDiffusing manageable units of sense (e.g., words, encountering long words, sentences, orDouble-Entry Journal sentences, paragraphs, whole text) by whole texts; to increase comprehension numbering, separating phrases, drawing of difficult or challenging textGraphic Organizer boxesKWHL Chart Accessing small chunks of text to To develop comprehensiveMarking the Text read, reread, mark, and annotate key understanding by engaging in one orMetacognitive Markers passages, word-for-word, sentence-by- more focused readings of a text sentence, and line-by-lineOPTIC Reading a passage, noting unfamiliar To facilitate a close reading of text, the words, discovering meaning of unfamiliar use of resources, an understanding of words using context clues, dictionaries, synonyms, and increased comprehension and/or thesauruses, and replacing of text unfamiliar words with familiar ones Creating a two-column journal (also To assist in note-taking and organizing called Dialectical Journal) with a student- key textual elements and responses selected passage in one column and the noted during reading in order to generate student’s response in the second column textual support that can be incorporated (e.g., asking questions of the text, into a piece of writing at a later time forming personal responses, interpreting To facilitate increased comprehension the text, reflecting on the process of and discussion making meaning of the text) Using a visual representation for the organization of information from the text Setting up discussion that allows To organize thinking, access prior © 2014 College Board. All rights reserved. students to activate prior knowledge knowledge, and reflect on learning by answering “What do I know?”; sets to increase comprehension and a purpose by answering “What do I engagement want to know?”; helps preview a task To focus reading for specific purposes, by answering “How will I learn it?”; and such as author’s craft, and to organize reflects on new knowledge by answering information from selections; to facilitate “What have I learned?” reexamination of a text Selecting text by highlighting, underlining, and/or annotating for specific components, such as main idea, imagery, literary devices, and so on Responding to text with a system of To track responses to texts and use cueing marks where students use a ? those responses as a point of departure for questions about the text; a ! for for talking or writing about texts reactions related to the text; and an * for comments ,about the text and underline to signal key ideas O (Overview): Write notes on what the To analyze graphic and visual images as visual appears to be about. forms of text P (Parts): Zoom in on the parts of the visual and describe any elements or details that seem important. T (Title): Highlight the words of the title of the visual (if one is available). I (Interrelationships): Use the title as the theory and the parts of the visual as clues to detect and specify how the elements of the graphic are related.338 SpringBoard® English Language Arts Grade 6
STRATEGY DEFINITION PURPOSE OPTIC (continued) C (Conclusion); Draw a conclusion about Predicting the visual as a whole. What does the visual mean? Summarize the message of Previewing the visual in one or two sentences. QHT Making guesses about the text by using To help students become actively the title and pictures and/or thinking involved, interested, and mentally Questioning the Text* ahead about events which may occur prepared to understand ideas The AP Vertical Teams Guide based on evidence in the text for English (109–112) Paraphrasing Making guesses about the text by using To gain familiarity with the text, make the title and pictures and/or thinking connections to the text, and extend prior RAFT ahead about events which may occur knowledge to set a purpose for reading based on evidence in the text Rereading SIFT* Expanding prior knowledge of To allow students to build on their prior The AP Vertical Teams Guide vocabulary words by marking words with knowledge of words, to provide a forum for English (17–20) a Q, H, or T (Q signals words students for peer teaching and learning of new do not know; H signals words students words, and to serve as a prereading Skimming/Scanning have heard and might be able to identify; exercise to aid in comprehension T signals words students know well To engage more actively with texts, SMELL* enough to teach to their peers) read with greater purpose and focus, The AP Vertical Teams Guide Developing levels of questions about and ultimately answer questions to for English text; that is, literal, interpretive, and gain greater insight into the text; helps universal questions that prompt deeper students to comprehend and interpret thinking about a text Restating in one’s own words the To encourage and facilitate essential information expressed in a comprehension of challenging text. text, whether it be narration, dialogue, or informational text Primarily used to generate new text, this To initiate reader response; to facilitate strategy can also be used to analyze a an analysis of a text to gain focus prior to text by examining the role of the speaker creating a new text (R), the intended audience (A), the format of the text (F), and the topic of the text (T).© 2014 College Board. All rights reserved. Encountering the same text with more To identify additional details; to clarify than one reading. meaning and/or reinforce comprehension of texts Analyzing a fictional text by examining To focus and facilitate an analysis of stylistic elements, especially symbol, a fictional text by examining the title imagery, and figures of speech in order and text for symbolism, identifying to show how all work together to reveal images and sensory details, analyzing tone and theme figurative language and identifying how all these elements reveal tone and theme Skimming by rapid or superficial reading To quickly form an overall impression of a text to form an overall impression or prior to an in-depth study of a text; to to obtain a general understanding of the answer specific questions or quickly material; scanning focuses on key words, locate targeted information or detail in phrases, or specific details and provides a text speedy recognition of information • Sender-receiver relationship—What is To analyze a persuasive speech or essay the sender-receiver relationship? Who by focusing on five essential questions are the images and language meant to attract? Describe the speaker of the text. • Message—What is the message? Summarize the statement made in the text. SpringBoard Learning Strategies 339
STRATEGY DEFINITION PURPOSE SMELL* (continued) • Emotional Strategies—What is the SOAPSTone* desired effect? Summarizing • Logical Strategies—What logic is operating? How does it (or its Think Aloud absence) affect the message? TP-CASTT* Consider the logic of the images as The AP Vertical Teams Guide well as the words. for English (94–99) Visualizing • Language—What does the language Word Maps of the text describe? How does it*Delineates AP strategy affect the meaning and effectiveness of the writing? Consider the language of the images as well as the words. Analyzing text by discussing and To facilitate the analysis of specific identifying Speaker, Occasion, elements of non-fiction literary and Audience, Purpose, Subject, and Tone informational texts and show the relationship among the elements to Giving a brief statement of the main an understanding of the whole points or essential information To facilitate comprehension and recall expressed in a text, whether it of a text be narration, dialogue, or informational text To reflect on how readers make meaning Talking through a difficult passage or of challenging texts and facilitate task by using a form of metacognition comprehension whereby the reader expresses how he/ she has made sense of the text Analyzing a poetic text by identifying To facilitate the analysis of specific and discussing Title, Paraphrase, elements of a literary text, especially Connotation, Attitude, Shift, Theme, and poetry. To show how the elements work Title again together to create meaning Forming a picture (mentally and/or To increase reading comprehension and literally) while reading a text promote active engagement with text Using a clearly defined graphic To provide a visual tool for identifying organizer such as concept circles or and remembering multiple aspects of word webs to identify and reinforce words and word meanings word meanings © 2014 College Board. All rights reserved. WRITING STRATEGIES STRATEGY DEFINITION PURPOSEAdding Making conscious choices to enhance To refine and clarify the writer’s thoughtsBrainstorming a text by adding additional words, during revision and/or drafting phrases, sentences, or ideasDeletingDrafting Using a flexible but deliberate process of To generate ideas, concepts, or key listing multiple ideas in a short period of words that provide a focus and/or time without excluding any idea from the establish organization as part of the preliminary list prewriting or revision process Providing clarity and cohesiveness for To refine and clarify the writer’s thoughts a text by eliminating words, phrases, during revision and/or drafting sentences, or ideas Composing a text in its initial form To incorporate brainstormed or initial ideas into a written format340 SpringBoard® English Language Arts Grade 6
STRATEGY DEFINITION PURPOSE Free writing Write freely without constraints in order To refine and clarify the writer’s Generating Questions to capture thinking and convey the thoughts, spark new ideas, and/or Graphic Organizer writer's purpose generate content during revision and/or Looping drafting Mapping Clarifying and developing ideas by To clarify and develop ideas in a draft; Marking the Draft asking questions of the draft. May be used during drafting and as part of writer Note-taking part of self-editing or peer editing response Outlining Organizing ideas and information To provide a visual system for organizing Quickwrite visually (e.g., Venn diagrams, flowcharts, multiple ideas, details, and/or textual RAFT cluster maps) support to be included in a piece of Rearranging writing Self-Editing/Peer Editing After free writing, one section of a text To refine and clarify the writer’s is circled to promote elaboration or the thoughts, spark new ideas, and/or generation of new ideas for that section. generate new content during revision This process is repeated to further and/or drafting develop ideas from the newly generated segments Creating a graphic organizer that To generate ideas, concepts, or key serves as a visual representation of the words that provide a focus and/or organizational plan for a written text establish organization during the prewriting, drafting, or revision process Interacting with the draft version of To encourage focused, reflective thinking a piece of writing by highlighting, about revising drafts underlining, color-coding, and annotating to indicate revision ideas Making notes about ideas in response To assist in organizing key textual to text or discussions; one form is the elements and responses noted during double-entry journal in which textual reading in order to generate textual evidence is recorded on the left side and support that can be incorporated into personal commentary about the meaning a piece of writing at a later time. Note- of the evidence on the other side. taking is also a reading and listening strategy.© 2014 College Board. All rights reserved. Using a system of numerals and letters To generate ideas, concepts, or key in order to identify topics and supporting words that provide a focus and/or details and ensure an appropriate establish organization prior to writing balance of ideas. an initial draft and/or during the revision process Writing for a short, specific amount of To generate multiple ideas in a quick time in response to a prompt provided fashion that could be turned into longer pieces of writing at a later time (May be considered as part of the drafting process) Generating a new text and/or To generate a new text by identifying transforming a text by identifying and the main elements of a text during the manipulating its component parts of prewriting and drafting stages of the Role, Audience, Format, and Topic writing process Selecting components of a text and To refine and clarify the writer’s thoughts moving them to another place within the during revision and/or drafting text and/or modifying the order in which the author’s ideas are presented Working individually or with a partner to To facilitate a collaborative approach to examine a text closely in order to identify generating ideas for and revising writing. areas that might need to be corrected for grammar, punctuation, spelling SpringBoard Learning Strategies 341
STRATEGY DEFINITION PURPOSESharing and Responding Communicating with another person or To make suggestions for improvement a small group of peers who respond to a to the work of others and/or to receive piece of writing as focused readers (not appropriate and relevant feedback on necessarily as evaluators) the writer’s own work, used during the drafting and revision processSketching Drawing or sketching ideas or ordering To generate and/or clarify ideas by of ideas. Includes storyboarding, visualizing them. May be part of visualizing prewritingSubstituting / Replacing Replacing original words or phrases in To refine and clarify the writer’s thoughts a text with new words or phrases that during revision and/or drafting achieve the desired effectTWIST* Arriving at a thesis statement that To craft an interpretive thesis in responseThe AP Vertical Teams Guide for incorporates the following literary to a prompt about a textEnglish 167–174 elements: tone, word choice (diction), imagery, style and themeWebbing Developing a graphic organizer that To generate ideas, concepts, or key consists of a series of circles connected words that provide a focus and/or with lines to indicate relationships establish organization prior to writing among ideas an initial draft and/or during the revision processWriter’s Checklist Using a co-constructed checklist (that To focus on key areas of the writing could be written on a bookmark and/or process so that the writer can effectively displayed on the wall) in order to look revise a draft and correct mistake for specific features of a writing text and check for accuracyWriting Groups A type of discussion group devoted to To facilitate a collaborative approach to sharing and responding of student work generating ideas for and revising writing. SPEAKING AND LISTENING STRATEGIES STRATEGY DEFINITION PURPOSEChoral Reading Reading text lines aloud in student To develop fluency; differentiate © 2014 College Board. All rights reserved. groups and/or individually to present an between the reading of statements andNote-taking interpretation questions; practice phrasing, pacing,Oral Reading Creating a record of information while and reading dialogue; show how aRehearsal listening to a speaker or reading a text character’s emotions are captured through vocal stress and intonationRole Playing To facilitate active listening or close reading ; to record and organize ideas that assist in processing information Reading aloud one’s own text or the To share one’s own work or the work texts of others (e.g., echo reading, choral of others; build fluency and increase reading, paired readings) confidence in presenting to a group Encouraging multiple practices of a piece To provide students with an opportunity of text prior to a performance to clarify the meaning of a text prior to a performance as they refine the use of dramatic conventions (e.g., gestures, vocal interpretations, facial expressions) Assuming the role or persona of a To develop the voice, emotions, and character mannerisms of a character to facilitate improved comprehension of a text342 SpringBoard® English Language Arts Grade 6
COLLABORATIVE STRATEGIES STRATEGY DEFINITION PURPOSE Discussion Groups Engaging in an interactive, small group To gain new understanding of or insight discussion, often with an assigned role; into a text from multiple perspectives Think-Pair-Share to consider a topic, text or question Pairing with a peer to share ideas; before To construct meaning about a topic or sharing ideas and discussion with a question; to test thinking in relation larger group to the ideas of others; to prepare for a discussion with a larger group© 2014 College Board. All rights reserved. SpringBoard Learning Strategies 343
Glossary / GlosarioA artifact: an object made by a human being, typically an item © 2014 College Board. All rights reserved. that has cultural or historical signi canceadvertising: the use of print, graphics, or videos to persuade artefacto: objeto hecho por un ser humano, habitualmentepeople to buy a product or use a service un objeto que tiene signi cación cultural o históricapublicidad: uso de impresos, grá ca o videos para persuadir atmosphere: the feeling created by a literary work or passagea las personas a comprar un producto o usar un servicio atmósfera: sentimiento creado por una obra o pasaje literarioallegory: a story in which the characters, objects, or actions audience: the intended readers of speci c types of texts orhave a meaning beyond the surface of the story the viewers of a program or performancealegoría: cuento en el que los personajes, objetos o acciones público: lectores objetivo de tipos especí cos de textos otienen un signi cado que va más allá de la super cie de espectadores de un programa o actuaciónla historiaalliteration: the repetition of consonant sounds at the Bbeginnings of words that are close togetheraliteración: repetición de sonidos consonánticos al comienzo balanced sentence: a sentence that presents ideas of equalde palabras que están cercanas weight in similar grammatical form to emphasize theallusion: a reference to a well-known person, place, event, similarity or di erence between the ideasliterary work, or work of art oración balanceada: oración que presenta ideas de igual pesoalusión: referencia a una persona, lugar, obra literaria u obra en forma gramatical similar para enfatizar la semejanza ode arte muy conocidos diferencia entre las ideasanalogy: a comparison of the similarity of two things; for bibliography: a list of source materials used to prepare aexample, comparing a part to a whole or the whole to a part research paper or presentationanalogía: comparación de la semejanza de dos cosas; por bibliografía: lista de las fuentes utilizadas para preparar unaejemplo, comparar una parte con un todo o el todo con investigación o una presentaciónuna parte body paragraph: a paragraph that contains a topic sentence,analyze (literary): study the details of a work to identify supporting details and commentary, and a concludingessential features or meaning sentence and that is usually part of a longer textanalizar (literario): estudiar los detalles de una obra para párrafo representativo: párrafo que contiene una oraciónidenti car características o signi cados esenciales principal, detalles de apoyo y comentarios, y una oraciónanecdote: a brief, entertaining account of an incident concluyente que normalmente forma parte de un textoor event más extensoanécdota: breve relato entretenido de un incidente o sucesoannotate: write notes to explain or present ideas that help Cyou analyze and understand a textanotar: tomar notas para explicar o presentar las ideas que te caricature: a visual or verbal representation in whichayuden a analizar y a entender un texto characteristics or traits are distorted for emphasisantonyms: words with opposite meanings caricatura: representación visual o verbal en la que lasantónimos: palabras con signi cados opuestos características o rasgos son distorsionados para dar énfasisarchetype: a character, symbol, story pattern, or other cause: an initial action; an event that makes somethingelement that is common to human experience across cultures else happenand that occurs frequently in literature, myth, and folklore causa: acción inicial; suceso que hace que otra cosa ocurraarquetipo: personaje, símbolo, patrón de un cuento u otro character: a person or animal that takes part in the action ofelemento que es común a la experiencia humana a través de a literary workdiversas culturas y que aparece con frecuencia en literatura, personaje: persona o animal que participa en la acción demitos y folclor una obra literariaargument: facts or reasoning o ered to support a position as characterization: the methods a writer uses to developbeing true characters; for example, through description, actions,argumento: hechos o razonamiento entregados para apoyar and dialogueuna posición como verdadera caracterización: métodos que usa un escritor para desarrollar personajes; por ejemplo, a través de descripción, acciones y diálogo344 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. citation: giving credit to the authors of source information desires, or emotions. cita: dar crédito a los autores de información usada con icto: lucha entre fuerzas opuestas. En un con icto como fuente externo, un personaje lucha contra una fuerza externa, claim: a writer’s statement of a position or opinion about a como por ejemplo otro personaje o algo de la naturaleza. En topic un con icto interno, el personaje lucha contra sus propias a rmación: declaración de un escritor acerca de una necesidades, deseos o emociones. posición u opinión sobre un tema connotation: the suggested or implied meaning or emotion cliché: an overused expression or idea associated with a word—beyond its literal de nition cliché: expresión o idea usada en exceso connotación: signi cado o emoción sugerida o implícita que climax: the turning point or the high point of a story se asocia con una palabra—más allá de su de nición literal clímax: punto de in exión o momento culminante de un cuento consumer: a buyer; a person who acquires goods coherence: the clear and orderly presentation of ideas in a and services paragraph or essay consumidor: comprador, persona que adquiere bienes coherencia: presentación clara y ordenada de las ideas en un y servicios párrafo o ensayo consumerism: the buying and consuming of goods and collaborate: work together with other members of a group products; the belief that it is good to buy and consume goods colaborar: trabajar en conjunto con otros miembros de un and services grupo consumismo: compra y consumo de bienes y productos; comedy: an entertainment that is amusing or humorous creencia de que es bueno comprar y consumir bienes comedia: espectáculo que es divertido o cómico y servicios commentary: explanation of the way the facts, details and/or context clue: information in words and phrases surrounding examples in a paragraph or essay support the topic sentence an unfamiliar word that hint at the meaning of the comentario: explicación de la manera en que los hechos, unfamiliar word. detalles y ejemplos de un párrafo o ensayo apoyan la oración clave de contexto: información en las palabras y frases que principal rodean una palabra no conocida y que dan una pista acerca commercialism: an emphasis on gaining pro ts through del signi cado de esa palabra. advertising or sponsorship contrast: to identify di erences in two or more items; see mercantilismo: énfasis en obtener utilidades por medio de la also, compare publicidad o el auspicio contrastar: identi car diferencias entre dos o más elementos; communication: the process of giving or exchanging ver también, comparar information controversy: a public debate or dispute concerning a matter comunicación: proceso de dar o intercambiar información of opinion compare: to identify similarities in two or more items; see controversia: debate público o disputa sobre una cuestión also, contrast sujeta a opinión comparar: identi car semejanzas entre dos o más elementos; copy: the actual text in an advertisement ver también, contrastar texto publicitario: información actual en un anuncio concluding sentence: a nal sentence that pulls together publicitario the ideas in a paragraph by restating the main idea or by counter-argument: reasoning or facts given in opposition to summarizing or commenting on the ideas in the paragraph an argument oración concluyente: oración nal que reúne las ideas de contraargumento: razonamiento o hechos dados en un párrafo, reformulando la idea principal o resumiendo o oposición a un argumento comentando las ideas del párrafo credible: to be trusted or believed conclusion: the ending of a paragraph or essay, which brings creíble: ser con able o creíble it to a close and leaves an impression with the reader criteria: the facts, rules, or standards on which judgments conclusión: n de un párrafo o ensayo, que lo lleva a su are based. término y deja una impresión en el lector criterios: hechos, reglas o estándares sobre las cuales están con ict: a struggle between opposing forces. In an external basadas las opiniones. con ict, a character struggles with an outside force, such as another character or something in nature. In an internal con ict, the character struggles with his or her own needs, English-Spanish Glossary 345
D epílogo: sección al nal de un libro u obra teatral, que © 2014 College Board. All rights reserved. extiende o comenta el naldebate: n. a discussion involving opposing points of essay: a short literary composition on a single subjectview; v. to present the sides of an argument by discussing ensayo: composición literaria corta acerca de un único temaopposing points ethos: a rhetorical appeal that focuses on the character ordebate: s. discusión que involucra puntos de vista opuestos; quali cations of the speakerv. presentar los lados de un argumento discutiendo puntos ethos: recurso retórico centrado en el carácter o lasopuestos capacidades del oradorde nition: the process of making clear the meaning or nature euphemism: an ino ensive expression that is used in place ofof something one that is considered harsh or bluntde nición: proceso de aclarar el signi cado o naturaleza eufemismo: expresión inofensiva usada en lugar de unade algo considerada cruel o rudadenotation: the exact, literal meaning of a word evaluate: to examine and judge carefully to determine thedenotación: signi cado exacto y literal de una palabra value of something, such as an idea, a comment, or a sourcedetail: in writing, evidence (facts, statistics, examples) that evaluar: estudiar y juzgar cuidadosamente para determinar elsupports the topic sentence valor de algo, tal como una idea, un comentario, o una fuentedetalle: en la escritura, evidencia (hechos, estadística, evidence: the information that supports or proves an idea orejemplos) que apoya la oracón principal claim; forms of evidence include facts, statistics (numericaldialogue: conversation between characters facts), expert opinions, examples, and anecdotes; see also,diálogo: conversación entre personajes anecdotal, empirical, and logical evidencediction: a writer’s or speaker’s choice of words evidencia: información que apoya o prueba una idea odicción: selección de palabras por parte del escritor u orador a rmación; algunas formas de evidencia incluyen hechos,dissolve: the slow fading away of one image in a lm as estadísticas (datos numéricos), opiniones de expertos,another fades in to take its place ejemplos y anécdotas; ver también evidencia anecdótica,desvanecimiento: desaparición lenta de una imagen en una empírica y lógicapelícula a medida que otra aparece progresivamente para exposition: (1) a type of writing that explains, clari es,tomar su lugar de nes, or gives information; (2) events that give a readerdrama: a genre of literature that is intended to be performed background information needed to understand a storybefore an audience; a play exposición: (1) tipo de escrito que explica, clari ca, de nedrama: género literario destinado a ser representado ante un o entrega información; (2) sucesos que entregan al lector lospúblico; obra teatral antecedentes necesarios para comprender un cuentodystopia: an imagined place or state in which the condition expository essay: an essay that makes an assertionof life is imperfect or bad and explains it with details, reasons, textual evidence,distopía: lugar o estado imaginario en el que las condiciones and commentaryde vida son imperfectas o malas ensayo expositivo: ensayo que hace una a rmación y la explica con detalles, razones, evidencia textual y comentariosE expository paragraph: a paragraph that makes an assertion and supports it with details and commentaryeditorial: A short essay in which a publication, or someone párrafo expositivo: párrafo que hace una a rmación y laspeaking for a publication, expresses an opinion or takes a apoya con detalles y comentariosstand on an issueeditorial: ensayo corto en el que una publicación, o alguien Fque representa una publicación, expresa una opinión o tomapartido acerca de un tema fable: a brief story that teaches a lesson or moral, usuallye ect: the result of an event or action through animal characters that take on human qualitiesefecto: resultado de un suceso o acción fábula: cuento breve que enseña una lección o moraleja,epic: a long narrative poem about the deeds of heroes or gods normalmente por medio de personajes animales que asumenépica: poema narrativo largo acerca de las proezas de héroes cualidades humanaso dioses fact: a statement that can be provenepilogue: a section at the end of a book or play that extends hecho: enunciado que puede demostrarseor comments on the ending346 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. fairy tale: a story that involves fantasy elements such as free verse: a kind of poetry that does not follow any regular witches, goblins, and elves. ese stories o en involve princes pattern, rhythm, or rhyme and princesses and today are generally told to entertain verso libre: tipo de poesía que no sigue ningún patrón, ritmo children. o rima regular cuento de hadas: cuento que involucra elementos fantásticos como brujas, duendes y elfos. A menudo, estos cuentos G involucran a príncipes y princesas y hoy se cuentan generalmente para entretener a los niños. genre: a category or type of literature, such as short story, folk falling action: events a er the climax of a story but before tale, poem, novel, play the resolution género: categoría o tipo de literatura, como el cuento corto, acción descendente: sucesos posteriores al clímax de un cuento folclórico, poema, novela, obra teatral cuento, pero antes de la resolución global revision: the process of deeply revising a text to fantasy: a story based on things that could not happen in improve organization, development of ideas, focus, and voice real life revisión global: proceso de revisar en profundidad un texto fantasía: cuento basado en cosas que no podrían ocurrir en para mejorar su organización, desarrollo de ideas, enfoque la vida real y voz graphic novel: a narrative told through visuals and captions gurative language: imaginative language that is not meant novela grá ca: narrativa que se cuenta por medio de efectos to be interpreted literally visuales y leyendas lenguaje gurativo: lenguaje imaginativo que no pretende ser interpretado literalmente H ashback: a sudden and vivid memory of an event in the headline: a short piece of text at the top of an article, past; also, an interruption in the sequence of events in the usually in larger type, designed to be the rst words the plot of a story to relate events that occurred in the past audience reads narración retrospectiva: recuerdo repentino y vívido de un titular: trozo corto de texto en la parte superior de un suceso del pasado; además, interrupción en la secuencia de artículo, habitualmente en letra más grande, diseñado para los sucesos del argumento de un cuento para relatar sucesos ser las primeras palabras que el público lea ocurridos en el pasado humor: the quality of being comical or amusing humor: cualidad de ser cómico o divertido uency: the ability to use language clearly and easily hook: n. a compelling idea or statement designed to get uidez: capacidad de usar el lenguaje fácilmente y de readers’ attention in an introduction manera clara gancho: n. idea o a rmación atractiva diseñada para captar la folk literature: the traditional literature of a culture, atención del lector en una introducción consisting of a variety of myths and folk tales hyperbole: extreme exaggeration used for emphasis, o en literatura folclórica: literatura tradicional de una cultura, used for comic e ect consistente en una variedad de mitos y cuentos folclóricos hypérbole: exageración extrema usada para dar énfasis, folklore: the stories, traditions, sayings, and customs of a habitualmente usada para dar efecto cómico culture or a society folclor: historias, tradiciones, dichos y costumbres de una I cultura o sociedad folk tale: an anonymous traditional story passed on orally iamb: a metrical foot that consists of an unstressed syllable from one generation to another followed by a stressed syllable cuento folclórico: cuento tradicional anónimo pasada yambo: pie métrico que consta de una sílaba átona seguida oralmente de generación en generación de una sílaba tónica foreshadowing: clues or hints signaling events that will occur iambic pentameter: a rhythmic pattern of ve feet (or units) later in the plot of one unstressed syllable followed by a stressed syllable presagio: claves o pistas que señalan sucesos que ocurrirán pentámetro yámbico: patrón rítmico de cinco pies (o mas adelante en el argumento unidades) de una sílaba átona seguida de una sílaba tónica formal style: a style of writing or speaking that is appropriate idiom: a gure of speech that cannot be de ned literally for formal communication such as in academics or business expresión idiomatica: gura del discurso que no puede estilo formal: estilo de escribir o hablar adecuado para la de nirse literalmente comunicación formal como la académica o comercial English-Spanish Glossary 347
image: a picture, drawing, photograph, illustration, chart, or limerick: a light, humorous, nonsensical verse of few lines, © 2014 College Board. All rights reserved.other graphic that is designed to a ect the audience in some usually with a rhyme scheme of a-a-b-b-apurposeful way quintilla: verso liviano, humorístico, disparatado y de pocasimagen: pintura, dibujo, fotografía, ilustración, cuadro u otra líneas, normalmente con un esquema a-a-b-b-agrá ca diseñada para producir algún efecto intencional sobre listening: the process of receiving a message and makingel público meaning of it from verbal and nonverbal cuesimagery: descriptive or gurative language used to create escuchar: proceso de recibir el mensaje y comprender suword pictures; imagery is created by details that appeal to one signi cado a partir de claves verbales y no verbalesor more of the ve senses literary analysis: the process of examining closely andimaginería: lenguaje descriptivo o gurativo utilizado para commenting on the elements of a literary workcrear imágenes verbales; la imaginería es creada por detalles análisis literario: proceso de examinar atentamente yque apelan a uno o más de los cinco sentidos comentar los elementos de una obra literariaimprovise: to respond or perform on the spur of the moment revisión local: revisar un texto a nivel de palabras oimprovisar: reaccionar o representar impulsivamente de oracionesincident: a distinct piece of action as in an episode in a story local revision: revising a text on a word or sentence levelor a play. More than one incident may make up an event. logo: a unique design symbol used to identify aincidente: trozo de acción distintivo como un episodio de company visuallyun cuento o de una obra teatral. Más de un incidente puede logotipo: símbolo único de diseño, utilizado para identi carconformar un suceso. visualmente una empresainference: a logical guess or conclusion based on observation, logos: a rhetorical appeal to reason or logic through statistics,prior experience, or textual evidence facts, and reasonable examplesinferencia: conjetura o conclusión lógica basada en la logos: apelación retórica a la razón o la lógica por medio deobservación, experiencias anteriores o evidencia textual estadísticas, hechos y ejemplos razonablesin ection: the emphasis a speaker places on words throughchange in pitch or volume Min exión: énfasis que pone un orador en las palabras pormedio del cambio de tono o volumen media: the various means of mass communication, such asinterpretation: a writer’s or artist’s representation of the radio, television, newspapers, and magazinesmeaning of a story or idea medios de comunicación: los diversos medios deinterpretación: representación que hace un escritor o artista comunicación masiva, como radio, televisión, periódicosdel signi cado de un cuento o idea y revistasinterview: a meeting between two people in which one, media channel: a type of media, such as televisionusually a reporter, asks the other questions to get that person’s or newspaperviews on a subject canal mediático: tipo de medios de comunicación, comoentrevista: reunión entre dos personas, en la que una, televisión o periódicosnormalmente un reportero, hace preguntas a la otra para metaphor: a comparison between two unlike things in whichconocer sus opiniones acerca de un tema one thing becomes anotherintroduction: the opening paragraph of an essay, which must metáfora: comparación entre dos cosas diferentes en la queget the reader’s attention and indicate the topic una cosa se convierte en otraintroducción: párrafo inicial de un ensayo, que debe captar monologue: a speech or written expression of thoughts byla atención del lector e indicar el tema a character monólogo: discurso o expresión escrita de pensamientos porL parte de un personaje mood: the overall emotional quality of a work, which is createdlegend: a traditional story believed to be based on actual by the author’s language and tone and the subject matterpeople and events. Legends, which typically celebrate heroic carácter: la calidad emocional general de una obra, que esindividuals or signi cant achievements, tend to express the creada por el lenguaje y tono del autor y por el temavalues of a culture. motif: a recurring element, image, or idea in a workleyenda: cuento tradicional que se considera basado en of literaturepersonas y sucesos reales. Las leyendas, que típicamente motivo: elemento, imagen o idea recurrente en unacelebran a individuos heroicos o logros importantes, tienden obra literariaa expresar los valores de una cultura.348 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. multimedia: the use of several media (for example, print, onomatopoeia: the use of words that imitate the sounds of lm, audio, and video) to communicate ideas what they describe onomatopeya: el uso de palabras que imitan los sonidos de lo multimedia: uso de varios medios de comunicación (por que describen ejemplo: impresos, cine, audio y video) para comunicar ideas one-liner: a short joke or witticism expressed in a multiple intelligences: the variety of learning styles that single sentence. everyone has in varying degrees. In each individual, di erent agudeza: chiste u comentario ingenioso que se expresa en intelligences predominate. una sola oración. inteligencias múltiples: diversidad de estilos de aprendizaje opinion: a perspective that can be debated que todos tienen en diversos grados. En cada individuo opinión: perspectiva que es debatible predominan diferentes inteligencias. oral interpretation: reading aloud a literary text myth: a traditional story that explains the actions of gods or with expression heroes or the origins of the elements of nature interpretación oral: leer en voz alta un texto literario mito: cuento tradicional que explica las acciones de dioses o con expresión héroes o los orígenes de los elementos de la naturaleza oxymoron: a gure of speech in which the words seem to contradict each other; for example, “jumbo shrimp” N oxímoron: gura del discurso en la que las palabras parecen contradecirse mutuamente; por ejemplo, “audaz cobardía” narrative: a type of writing that tells a story or describes a sequence of events in an incident P narrativa: tipo de escritura que cuenta un cuento o describe una secuencia de sucesos de un incidente pantomime: a form of acting without words, in which narrative poem: a story told in verse motions, gestures, and expressions convey emotions poema narrativo: historia contada en verso or situations news article: an article in a news publication that objectively pantomima: forma de actuación sin palabras, en la que los presents both sides of an issue movimientos, gestos y expresiones transmiten emociones artículo noticioso: artículo de una publicación noticiosa que o situationes presenta objetivamente ambos lados de un asunto paraphrase: to restate in one’s own words nonprint text: a text, such as lm or graphics, that parafrasear: reformular en nuestras propias palabras communicates ideas without print parody: a humorous imitation of a literary work texto no impreso: texto, como una película o grá ca, que parodia: imitación humorística de una obra literaria comunica ideas sin imprimir pathos: a rhetorical appeal to the reader’s or listener’s senses nonverbal communication: gestures, facial expressions, and or emotions through connotative language and imagery in ection that form unspoken communication pathos: apelación retórica a los sentidos o emociones del comunicación no verbal: gestos, expresiones faciales e lector u oyente por medio de un lenguaje connotativo in exión que forman la comunicación no hablada y gurado novel: a type of literary genre that tells a ctional story performance: presenting or staging a play novela: tipo de género literario que cuenta una actuación: presentar o poner en escena una obra teatral historia cticia persona: the voice or character speaking or narrating a story persona: voz o personaje que habla o narra una historia O personal letter: a written communication between friends, relatives, or acquaintances that shares news, thoughts, or objective: supported by facts and not in uenced by feelings personal opinion carta personal: comunicación escrita entre amigos, objetivo: apoyado por hechos y no in uenciado por la parientes o conocidos, que comparte noticias, pensamientos opinión personal o sentimientos objective camera view: in lm, when the camera takes a personal narrative: a piece of writing that describes an neutral point of view incident and includes a personal response to and re ection visión objetiva de la cámara: en el cine, cuando la cámara on the incident toma un punto de vista neutro narrativa personal: texto escrito que describe un incidente omniscient: a third-person point of view in which the e incluye una reacción personal ante el incidente y una narrator is all-knowing re exión acerca de él omnisciente: punto de vista de una tercera persona, en la que el narador lo sabe todo English-Spanish Glossary 349
personi cation: a kind of metaphor that gives objects or prose: the ordinary form of written language, using sentences © 2014 College Board. All rights reserved.abstract ideas human characteristics and paragraphs; writing that is not poetry, drama, or songpersoni cación: tipo de metáfora que da características prosa: forma común del lenguaje escrito, usando oraciones yhumanas a los objetos o ideas abstractas párrafos; escritura que no es poesía, drama ni canciónperspective: the way a speci c character views a situation or purpose: the reason for writing; what the writer hopesother characters to accomplishperspectiva: manera en que un personaje especí co visualiza propósito: razón para escribir; lo que el escritor espera lograruna situación o a otros personajespersuasion: the act or skill of causing someone to do or Qbelieve somethingpersuasión: acto o destreza de hacer que alguien haga o quatrain: a four-line stanza in poetrycrea algo cuarteta: en poesía, estrofa de cuatro versospersuasive essay: an essay that attempts to convince thereader of to take an action or believe an idea Rensayo persuasivo: ensayo que intenta convencer al lector deque realice una acción o crea una idea rate: the speed at which a speaker delivers wordsphrasing: dividing a speech into smaller parts, adding pauses rapidez: velocidad a la que el orador pronuncia las palabrasfor emphasis reasons: the points that explain why the author is making afrasear: dividir un discurso en partes más pequeñas, certain claimañadiendo pausas para dar énfasis razones: los puntos que explican por qué un autor proponepitch: the highness or lowness of a sound, particularly the cierta a rmacónvoice in speaking re ection: a kind of thinking and writing which seriouslytono: altura de un sonido, especialmente de la voz al hablar explores the signi cance of an experience, idea, orplagiarism: taking and using as your own the words and observationideas of another re exión: tipo de pensamiento y escritura que exploraplagio: tomar y usar como propias las palabras e ideas de otro seriamente la importancia de una experiencia, ideaplot: the sequence of related events that make up a story u observaciónor novel re ective essay: an essay in which the writer explores thetrama: secuencia de sucesos relacionados, que conforman un signi cance of an experience or observationcuento o novela ensayo re exivo: ensayo en que el autor explora lapun: the humorous use of a word or words to suggest another importancia de una experiencia u observaciónword with the same sound or a di erent meaning refrain: a regularly repeated word, phrase, line, or group ofretruécano: uso humorístico de una o varias palabras lines in a poem or songpara sugerir otra palabra que tiene el mismo sonido o un estribillo: palabra, frase, verso o grupo de versos de unsigni cado diferente poema o canción que se repite con regularidadpoint of view: the perspective from which a story is told. In relevant: closely connected to the matter at hand (for example, evidence supporting a claim) rst-person point of view, the teller is a character in the story relevante: relacionado estrechamente con el asuntotelling what he or she sees or knows. In third-person point of en cuestión (por ejemplo, la evidencia que apoya unaview, the narrator is someone outside of the story. a rmación)punto de vista: perspectiva desde la cual se cuenta una repetition: the use of the same words or structure over againhistoria. En el punto de vista de la primera persona, el relator repetición: uso de las mismas palabras o estructura unaes un personaje del cuento que narra lo que ve o sabe. En el y otra vezpunto de vista de la tercera persona, el narrador es alguien research: (v.) the process of locating information fromque está fuera del cuento. a variety of sources; (n.) the information found fromprediction: a logical guess or assumption about something investigating a variety of sourcesthat has not yet happened investigar: (v.) proceso de buscar información en unapredicción: conjetura lógica o suposición acerca de algo que variedad de fuentes; también, investigación (n.) informaciónaún no ha ocurrido que se halla al investigar una variedad de fuentespresentation: delivery of a formal reading, talk, or performance resolution: the outcome of the con ict of a story, when loosepresentación: entrega de una lectura, charla o representación ends are wrapped upformal resolución: resultado del con icto de un cuento, cuando se atan los cabos sueltos350 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. revision: a process of evaluating a written piece to improve slogan: a catchphrase that evokes a particular feeling about a coherence and use of language; see also, local revision, company and its product global revision eslogan: frase o consigna publicitaria que evoca un revisión: proceso de evaluar un texto escrito para mejorar la sentimiento en particular acerca de una empresa y coherencia y el uso del lenguaje; ver también, revisión local, su producto revisión global source: a place from which information comes or is obtained rhetorical appeals: the use of emotional, ethical, and logical fuente: lugar de donde surge o se obtiene la información arguments to persuade in writing or speaking speaker: the voice that communicates with the reader recursos retóricos: uso de argumentos emotivos, éticos y of a poem lógicos para persuadir al escribir o hablar hablante: la voz que se comunica con el lector de un poema rhetorical question: a question asked to emphasize a point or speaking: the process of sharing information, ideas, and create an e ect; no answer is expected emotions using verbal and nonverbal means communication pregunta retórica: pregunta que se hace para enfatizar un hablar: proceso de compartir información, ideas y emociones punto o crear un efecto; no se espera una respuesta usando medios de comunicación verbales y no verbales rhyme: the repetition of sounds at the ends of words stanza: a group of lines, usually similar in length and pattern, rima: repetición de sonidos al nal de las palabras that form a unit within a poem rhyme scheme: a consistent pattern of end rhyme throughout estrofa: grupo de versos, normalmente similares en longitud a poem y patrón, que forman una unidad dentro de un poema esquema de la rima: patrón consistente de una rima nal a lo stereotype: a xed, oversimpli ed image of a person, group, largo de un poema or idea; something conforming to that image rhythm: the pattern of stressed and unstressed syllables in estereotipo: imagen ja y demasiado simpli cada de una spoken or written language, especially in poetry persona, grupo o idea; algo que cumple esa imagen ritmo: patrón de sílabas acentuadas y no acentuadas en subjective: in uenced by personal opinions or ideas lenguaje hablado o escrito, especialmente en poesía subjectivo: in uenciado por opiniones o ideas personales rising action: major events that develop the plot of a story subjective camera view: in lm, when the camera seems to and lead to the climax show the events through a character’s eyes acción ascendente: sucesos importantes que desarrollan la visión subjetiva de la cámara: en el cine, cuando la trama de un cuento y conducen al clímax cámara parece mostrar los sucesos a través de los ojos de un personaje S subplot: a secondary plot that occurs along with a main plot trama secundaria: argumento secundario que ocurre science ction: a genre in which the imaginary elements of conjuntamente con un argumento principal the story could be scienti cally possible su cient: adequate for the purpose of supporting a claim or ciencia cción: género en que los elementos imaginarios del reason. cuento podrían ser cientí camente posibles su ciente: adecuado para cumplir con el propósito de apoyar sensory details: words or information that appeal to the una a rmación o razón summarize: to brie y restate the main ideas of a piece ve senses of writing detalles sensoriales: palabras o información que apelan a los resumir: reformular brevemente las ideas principales de un cinco sentidos texto escrito sequence of events: the order in which events happen supporting details: in writing, evidence (facts, statistics, secuencia de los sucesos: orden en que ocurren los sucesos examples) that supports the topic sentence setting: the time and the place in which a narrative occurs detalles de apoyo: en la escritura, evidencia (hechos, ambiente: tiempo y lugar en que ocurre un relato estadísticas ejemplos) que apoya la oracon principal short story: a work of ction that presents a sequence of symbol: an object, a person, or a place that stands for events, or plot, that deals with a con ict something else cuento corto: obra de cción que presenta una secuencia de símbolo: objeto, persona o lugar que representa otra cosa sucesos, o trama, que tratan de un con icto symbolism: the use of symbols simile: a comparison between two unlike things, using the simbolismo: el uso de símbolos words like or as símil: comparación entre dos cosas diferentes usando las palabras como o tan English-Spanish Glossary 351
synonyms: words with similar meanings transitions: words or phrases that connect ideas, details, or © 2014 College Board. All rights reserved.sinónimos: palabras con signi cados semejantes events in writingsynthesize: to combine elements from di erent sources to transiciones: palabras o frases que conectan ideas, detalles ocreate, express, or support a new idea sucesos de un escritosintetizar: combinar elementos de diferentes fuentes para TV news story: a report on a news program about acrear, expresar o apoyar una idea nueva speci c event documental de televisión: reportaje en un programaT noticioso acerca de un suceso especí cotableau: a purposeful arrangement of characters frozen as if Uin a painting or a photographcuadro: disposición intencional de personajes que utopia: an ideal or perfect placepermanecen inmóviles como en una pintura o foto utopía: lugar ideal o perfectotalking points: important points or concepts to be includedin a presentation Vpuntos centrales: puntos o conceptos importantes a incluirseen una presentación verse: a unit of poetry, such as a line or a stanzatall tale: a highly exaggerated and o en humorous story verso: unidad de la poesía, como un verso o una estrofaabout folk heroes in local settings voice: a writer’s distinctive use of languagecuento increíble: cuento muy exagerado y normalmente voz: uso distintivo del lenguaje por parte de un escritorhumorístico acerca de héroes folclóricos en ambientes localestarget audience: the speci c group of people that advertisers voice-over: the voice of an unseen character in lmaim to persuade to buy expressing his or her thoughtspúblico objetivo: grupo especí co de personas a quienes los voz en o : voz de un personaje de una película, que no se vepublicistas desean persuadir de comprar pero que expresa sus pensamientostempo: the speed or rate of speaking volume: the degree of loudness of a speaker’s voice orritmo: velocidad o rapidez al hablar other soundtextual evidence: quotations, summaries, or paraphrases volumen: grado de intensidad sonora de la voz de un oradorfrom text passages to support a position o de otro sonidoevidencia textual: citas, resúmenes o paráfrasis de pasajes detexto para apoyar una position Wtheme: the central idea, message, or purpose of aliterary work juego de palabras: intercambio verbal ingenioso u ocurrentetema: idea, mensaje o propósito central de una obra literaria o un juego con palabrasthesis statement: a sentence, in the introduction of an essay, wordplay: a witty or clever verbal exchange or a playthat states the writer’s position or opinion on the topic of on wordsthe essayenunciado de tesis: oración, en la introducción de un ensayo,que plantea el punto de vista u opinión del autor acerca deltema del ensayotone: a writer’s or speaker’s attitude toward a subjecttono: actitud de un escritor u orador hacia un tematopic sentence: a sentence that states the main idea of aparagraph; in an essay, it also makes a point that supports thethesis statementoración principal: oración que plantea la idea principal deun párrafo; en un ensayo, también plantea un punto queapoya el enunciado de tesis352 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Web OrganizerGraphic Organizers 353
Word MapDefinition VisualExample Academic Example © 2014 College Board. All rights reserved. Vocabulary Word Example354 SpringBoard® English Language Arts Grade 6
Verbal & Visual Word Association Definition in Your Own Words Important Elements Visual Representation Academic Personal Association Vocabulary Word© 2014 College Board. All rights reserved. Graphic Organizers 355
Academic Vocabulary Tree © 2014 College Board. All rights reserved. Academic Vocabulary Word356 SpringBoard® English Language Arts Grade 6
© 2014 College Board. All rights reserved. Editor’s / Writer’s Checklist Organizational Elements Does your title express the topic and engage the reader? Do you have an engaging hook or lead to open your essay? Do you end your introductory paragraph with a thesis statement that states an opinion on a topic and suggests an organization? Do you have topic sentences that relate to the thesis statement? Do your body paragraphs contain detail and commentary to support your topic sentences? Do you include transitions to link ideas? Do your body paragraphs contain concluding sentences that also act as transitional statements to the next paragraph? Have you ended your essay with a strong conclusion that comments on the significance of your thesis ideas? Sentence Elements Have you revised to make sure all sentences are complete sentences? Do your sentences contain vivid verbs and descriptive adjectives when appropriate? Is the verb tense of your writing consistent? Do the subject and verb agree? Is pronoun use appropriate and consistent? Is parallel structure used to advantage and when appropriate? Do you vary sentence beginnings? Have you started sentences with a subordinate clause? Are your sentence types (simple, compound, complex) and lengths varied for interest and emphasis? Have you tried to include figurative and sensory language for effect? Have you used appositives when appropriate? Have you checked punctuation use for correctness, especially for appositives, complex sentences and parallel structure? Have you incorporated and punctuated quoted material correctly? Graphic Organizers 357
Double-Entry Journal Graphic OrganizerPassage from Text Page # Personal Response/Commentary © 2014 College Board. All rights reserved.358 SpringBoard® English Language Arts Grade 6
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