Overview

Lesson Procedure

60-70 minutes of class time across 5 phases.

1. Warm-Up5-10 minutes
2. Direct Instruction15-20 minutes
3. Guided Practice15 minutes
4. Independent Practice15 minutes
5. Closure10 minutes

1. Warm-Up5-10 minutes

   Warm-Up Prompt

   "Here is the first sentence of a chapter of a memoir published in 1918: 'Until the Great Exposition of 1900 closed its doors in November, Adams haunted it, aching to absorb knowledge, and helpless to find it.' Copy the three words that carry the whole sentence. Then answer: who is 'Adams'?"

   Take answers. Most students find "Adams haunted it" once they notice that "Until...November" is a time clause and that "aching" and "helpless" only describe him. Fewer realize that Adams is the author: Henry Adams wrote his memoir about himself in the third person. Leave open for now why a writer would do that; students will meet the question again in Independent Practice. Tell the class that at the top of the grades 11-12 band, nonfiction is hard in three ways, and today they will learn one question for each: spine (what is the core of this sentence?), stance (does the writer mean this straight?) and line (where is the thinking going?).

2. Direct Instruction15-20 minutes

   What RI.11-12.10 asks. The standard sets a level: literary nonfiction, such as essays, memoirs, criticism, speeches and journalism, in the grades 11-CCR band, the band that ends at college and career readiness. By the end of grade 11, students read these texts proficiently, with scaffolding as needed at the high end; by the end of grade 12, they read texts at the high end independently. At this level students usually know the words in a sentence and still lose the meaning, for three reasons that the three questions on the card answer.

   • Spine. Find the subject and verb of the main clause and what completes them, then add the branches back one at a time. Watch for words the writer leaves out because the pattern supplies them.
   • Stance. Ask whether the writer means the sentence straight. Label it: a sincere claim, a concession, a digression, someone else's view, or irony (saying one thing to mean another).
   • Line. Name the question or subject the essay is working on, and say what each paragraph or stretch does to it: poses it, digresses, concedes, answers, widens it.

   A reader who can answer all three writes a three-sentence précis: (1) the subject and the writer's claim, (2) how the writer develops it, (3) the writer's attitude and what it adds. Test the précis against the passage's last sentence.

   Model on the complete essay "Of Studies" by Francis Bacon (1561-1626), a statesman and philosopher, in the final version he published in 1625. Hand out this glossary with it: ornament, display in conversation; disposition of business, arranging affairs; contemn, scorn; curiously, with close attention; conference, conversation; wit, mind; Abeunt studia in mores, Latin for "studies become habits"; the stone and reins, kidney stones and the kidneys; schoolmen, medieval philosophers known for fine distinctions; Cymini sectores, "splitters of cumin seeds," hair-splitters; receipt, remedy. Read it aloud while students follow, and think aloud through the three questions.

   1Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business; for expert men can execute, and perhaps judge of particulars one by one; but the general counsels, and the plots and marshalling of affairs, come best from those that are learned. To spend too much time in studies, is sloth; to use them too much for ornament, is affectation; to make judgment wholly by their rules, is the humor of a scholar. They perfect nature, and are perfected by experience; for natural abilities are like natural plants, that need pruning by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience. Crafty men contemn studies, simple men admire them, and wise men use them; for they teach not their own use; but that is a wisdom without them and above them, won by observation. Read not to contradict and confute, nor to believe and take for granted, nor to find talk and discourse, but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. Some books also may be read by deputy, and extracts made of them by others; but that would be only in the less important arguments and the meaner sort of books; else distilled books are, like common distilled waters, flashy things. Reading maketh a full man; conference a ready man; and writing an exact man; and, therefore, if a man write little, he had need have a great memory; if he confer little, he had need have a present wit; and if he read little, he had need have much cunning, to seem to know that he doth not. Histories make men wise; poets, witty; the mathematics, subtile; natural philosophy, deep; moral, grave; logic and rhetoric, able to contend: “Abeunt studia in mores;” nay, there is no stand or impediment in the wit, but may be wrought out by fit studies. Like as diseases of the body may have appropriate exercises, bowling is good for the stone and reins, shooting for the lungs and breast, gentle walking for the stomach, riding for the head and the like; so, if a man’s wit be wandering, let him study the mathematics; for in demonstrations, if his wit be called away never so little, he must begin again; if his wit be not apt to distinguish or find difference, let him study the schoolmen, for they are “Cymini sectores.” If he be not apt to beat over matters, and to call up one thing to prove and illustrate another, let him study the lawyers’ cases; so every defect of the mind may have a special receipt.

   • Spine: supply the missing words

     Find the spine of the second sentence: "Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business."

     Result: The first clause has a full spine: "Their chief use ... is in privateness." The next two clauses drop the subject and keep only the verb, so the reader supplies "their chief use" twice: [their chief use] for ornament is in discourse; [their chief use] for ability is in the judgment of business. The sentence simply answers the first one: delight belongs to private reading, ornament to conversation, ability to managing affairs.

   • Stance: a dry joke with a serious point

     Bacon writes that "if he read little, he had need have much cunning, to seem to know that he doth not." Is he recommending cunning?

     Result: No. The stance is ironic advice: the only way a man who reads little can keep up is to fake knowledge, "to seem to know that he doth not." The joke is at the non-reader's expense, and the serious claim underneath is that reading is what actually supplies knowledge. Label: irony in service of a sincere claim.

   • Line: what each stretch does

     Trace the essay's line of thought from its first sentence to its last.

     Result: It names three uses of studies ("delight," "ornament," "ability"), then the misuse of each; then studies and experience ("They perfect nature, and are perfected by experience"); then how to read different books; then what different subjects do to the mind; and it ends by treating studies as remedies: "every defect of the mind may have a special receipt." The line moves from what study is for, to how to do it, to study as a cure.

   • Précis and test

     Write a three-sentence précis of "Of Studies" and test it against the last sentence.

     Result: (1) Bacon argues that studies have three uses, pleasure, display and practical judgment, and that each is spoiled by excess. (2) He develops the claim through balanced, compressed sentences that move from the uses of study, to how to read, to what each subject does to the mind. (3) His tone is confident and practical, the voice of a statesman giving advice rather than a scholar praising learning. Test: the last sentence, "so every defect of the mind may have a special receipt," fits sentence 2's movement toward study as a remedy; a précis that said only "Bacon likes reading" would fail it.

   Teacher tip. Point out that Bacon often explains himself: after "some few to be chewed and digested" he adds "that is" and restates the metaphor in plain terms. Hard writers often supply their own gloss a clause later, so students should read on before they stop. Diagram 1 shows the two sentences that begin "Reading maketh a full man."

3. Guided Practice15 minutes

   Give pairs this context note and the card: In 1823 the English essayist Thomas De Quincey published a short piece of criticism about one moment in Shakespeare's Macbeth: just after Macbeth murders King Duncan, a knocking is heard at the castle gate. The two cuts are marked [...]: the first leaves out a long digression, the second his explanation that a poet must make us look into the murderer's mind, where the "fiendish" has replaced the human. Short glossary: début, first public appearance; connoisseur, an expert judge of an art; dilettanti, lovers of the arts; felicity, aptness; sequestered, set apart; armistice, a truce. The paragraphs are numbered. Pairs work through the four steps; circulate and hear from each pair at least once.

   Teacher note on language and content: the passages are quoted exactly as published. Bacon and De Quincey use "man" and "men" for people in general, as writers of their times did. De Quincey's paragraph 2 jokes about real murders: in December 1811 seven people, including a baby, were killed in two attacks near Ratcliffe Highway in the East End of London. De Quincey dates them to 1812, but they took place in December 1811; the suspect, John Williams, killed himself before he could be tried. Tell students this before they read, and treat the jokes as De Quincey's irony, not as a view the class shares. "Shakspeare" and "gulph" are older spellings.

   1From my boyish days I had always felt a great perplexity on one point in Macbeth. It was this: the knocking at the gate, which succeeds to the murder of Duncan, produced to my feelings an effect for which I never could account. The effect was, that it reflected back upon the murder a peculiar awfulness and a depth of solemnity; yet, however obstinately I endeavored with my understanding to comprehend this, for many years I never could see why it should produce such an effect.

   2[...] But to return from this digression, my understanding could furnish no reason why the knocking at the gate in Macbeth should produce any effect, direct or reflected. In fact, my understanding said positively that it could not produce any effect. But I knew better; I felt that it did; and I waited and clung to the problem until further knowledge should enable me to solve it. At length, in 1812, Mr. Williams made his début on the stage of Ratcliffe Highway, and executed those unparalleled murders which have procured for him such a brilliant and undying reputation. On which murders, by the way, I must observe, that in one respect they have had an ill effect, by making the connoisseur in murder very fastidious in his taste, and dissatisfied by anything that has been since done in that line. All other murders look pale by the deep crimson of his; and, as an amateur once said to me in a querulous tone, "There has been absolutely nothing doing since his time, or nothing that's worth speaking of." But this is wrong; for it is unreasonable to expect all men to be great artists, and born with the genius of Mr. Williams. Now it will be remembered that in the first of these murders, (that of the Marrs,) the same incident (of a knocking at the door soon after the work of extermination was complete) did actually occur, which the genius of Shakspeare has invented; and all good judges, and the most eminent dilettanti, acknowledged the felicity of Shakspeare's suggestion as soon as it was actually realized. Here, then, was a fresh proof that I was right in relying on my own feeling in opposition to my understanding; and I again set myself to study the problem; at length I solved it to my own satisfaction; and my solution is this. [...]

   [...]

   3[...] In order that a new world may step in, this world must for a time disappear. The murderers, and the murder, must be insulated--cut off by an immeasurable gulph from the ordinary tide and succession of human affairs--locked up and sequestered in some deep recess; we must be made sensible that the world of ordinary life is suddenly arrested--laid asleep--tranced--racked into a dread armistice: time must be annihilated; relation to things without abolished; and all must pass self-withdrawn into a deep syncope and suspension of earthly passion. Hence it is, that when the deed is done, when the work of darkness is perfect, then the world of darkness passes away like a pageantry in the clouds: the knocking at the gate is heard; and it makes known audibly that the reaction has commenced: the human has made its reflux upon the fiendish; the pulses of life are beginning to beat again; and the re-establishment of the goings-on of the world in which we live, first makes us profoundly sensible of the awful parenthesis that had suspended them.

   1. Line (paragraph 1). Pairs write the essay's question in their own words. Teacher note: De Quincey says the knocking gives the murder "a peculiar awfulness and a depth of solemnity," and that he could never see "why." The italic word is the question the essay answers. Diagram 2 maps the whole passage, cuts included.
   2. Stance (paragraph 2). Pairs find the sentences that cannot be meant straight. Teacher note: De Quincey describes a real murderer in the words of theater and art criticism: "made his début on the stage," "a brilliant and undying reputation," "the connoisseur in murder," "great artists." This is irony. Ask what it does to the argument: the joke treats murder as an art, which prepares the claim that Shakespeare's art invented what the real murder later showed.
   3. Spine (paragraph 3). Pairs strip the second sentence to its core. Teacher note: "The murderers, and the murder, must be insulated"; everything after the first double dash restates that one idea ("cut off," "locked up and sequestered"), and the second half of the sentence does the same for "the world of ordinary life is suddenly arrested." Once students see the repetition, the sentence becomes a list of synonyms, not a maze.
   4. Précis. Pairs write the answer in one sentence and test it against the last clause, "the awful parenthesis that had suspended them." Teacher note: a good answer says that the knock is the first sign of ordinary life coming back, and that the return is what makes us feel how completely the murder had stopped it.

   Close with a quick check: which of the three questions did your pair need most here? Many pairs choose stance, because the irony in paragraph 2 is easy to read as a plain opinion. Tell students that the next passage comes with a two-sentence note and no glossary: this is the grade 12 target, reading at the top of the band on their own.

4. Independent Practice15 minutes

   Each student reads alone with the card and no glossary. Context note: Henry Adams (1838-1918), an American historian, wrote his autobiography in the third person, so "Adams" and "he" are the author himself. In 1900 he spent months at the Paris Exposition, a world's fair, guided by the American scientist Samuel Pierpont Langley; a dynamo is an electric generator. Students mark each place they stopped and write S, T or L for the question that got them going again, then draft a three-sentence précis. Collect the précis; they show who is ready to read at this level without support. Quiz questions 1-11, 15-18 and 20 use this passage.

   1Nothing in education is so astonishing as the amount of ignorance it accumulates in the form of inert facts. Adams had looked at most of the accumulations of art in the storehouses called Art Museums; yet he did not know how to look at the art exhibits of 1900. He had studied Karl Marx and his doctrines of history with profound attention, yet he could not apply them at Paris. Langley, with the ease of a great master of experiment, threw out of the field every exhibit that did not reveal a new application of force, and naturally threw out, to begin with, almost the whole art exhibit. Equally, he ignored almost the whole industrial exhibit. He led his pupil directly to the forces. His chief interest was in new motors to make his airship feasible, and he taught Adams the astonishing complexities of the new Daimler motor, and of the automobile, which, since 1893, had become a nightmare at a hundred kilometres an hour, almost as destructive as the electric tram which was only ten years older; and threatening to become as terrible as the locomotive steam-engine itself, which was almost exactly Adams's own age.

   2Then he showed his scholar the great hall of dynamos, and explained how little he knew about electricity or force of any kind, even of his own special sun, which spouted heat in inconceivable volume, but which, as far as he knew, might spout less or more, at any time, for all the certainty he felt in it. To him, the dynamo itself was but an ingenious channel for conveying somewhere the heat latent in a few tons of poor coal hidden in a dirty engine-house carefully kept out of sight; but to Adams the dynamo became a symbol of infinity. As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross. The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within arm's length at some vertiginous speed, and barely murmuring--scarcely humming an audible warning to stand a hair's-breadth further for respect of power--while it would not wake the baby lying close against its frame. Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force. Among the thousand symbols of ultimate energy the dynamo was not so human as some, but it was the most expressive.

   3Yet the dynamo, next to the steam-engine, was the most familiar of exhibits. For Adams's objects its value lay chiefly in its occult mechanism. Between the dynamo in the gallery of machines and the engine-house outside, the break of continuity amounted to abysmal fracture for a historian's objects. No more relation could he discover between the steam and the electric current than between the Cross and the cathedral. The forces were interchangeable if not reversible, but he could see only an absolute fiat in electricity as in faith. Langley could not help him. Indeed, Langley seemed to be worried by the same trouble, for he constantly repeated that the new forces were anarchical, and especially that he was not responsible for the new rays, that were little short of parricidal in their wicked spirit towards science. His own rays, with which he had doubled the solar spectrum, were altogether harmless and beneficent; but Radium denied its God--or, what was to Langley the same thing, denied the truths of his Science. The force was wholly new.

5. Closure10 minutes

   Exit ticket: (1) Copy the sentence in Adams's passage that was hardest for you and write its spine underneath. (2) Name one support you did not need today that you would have needed at the start of grade 11.

   For homework: students read the paragraph below on their own, with no card and no glossary. The only context is its author and date: Alice Meynell (1847-1922), an English poet and essayist, published it in 1893 as the opening of an essay.

   1If life is not always poetical, it is at least metrical. Periodicity rules over the mental experience of man, according to the path of the orbit of his thoughts. Distances are not gauged, ellipses not measured, velocities not ascertained, times not known. Nevertheless, the recurrence is sure. What the mind suffered last week, or last year, it does not suffer now; but it will suffer again next week or next year. Happiness is not a matter of events; it depends upon the tides of the mind. Disease is metrical, closing in at shorter and shorter periods towards death, sweeping abroad at longer and longer intervals towards recovery. Sorrow for one cause was intolerable yesterday, and will be intolerable tomorrow; today it is easy to bear, but the cause has not passed. Even the burden of a spiritual distress unsolved is bound to leave the heart to a temporary peace; and remorse itself does not remain--it returns. Gaiety takes us by a dear surprise. If we had made a course of notes of its visits, we might have been on the watch, and would have had an expectation instead of a discovery. No one makes such observations; in all the diaries of students of the interior world, there have never come to light the records of the Kepler of such cycles. But Thomas a Kempis knew of the recurrences, if he did not measure them. In his cell alone with the elements--'What wouldst thou more than these? for out of these were all things made'--he learnt the stay to be found in the depth of the hour of bitterness, and the remembrance that restrains the soul at the coming of the moment of delight, giving it a more conscious welcome, but presaging for it an inexorable flight. And 'rarely, rarely comest thou,' sighed Shelley, not to Delight merely, but to the Spirit of Delight. Delight can be compelled beforehand, called, and constrained to our service--Ariel can be bound to a daily task; but such artificial violence throws life out of metre, and it is not the spirit that is thus compelled. That flits upon an orbit elliptically or parabolically or hyperbolically curved, keeping no man knows what trysts with Time.

Differentiation Strategies

Assessment Guidance

1. Question 1 of 20 · Multiple Choice

   Adams's passage begins: "Nothing in education is so astonishing as the amount of ignorance it accumulates in the form of inert facts." What does the sentence mean?

   AEducation is astonishing because of the huge number of useful facts it teaches a person BFacts a person cannot use pile up in education and amount to a kind of ignorance CMost of the facts that schools teach are false, so education ends up producing ignorance DAdams regrets that he had so little schooling and learned so few facts as a young man

2. Question 2 of 20 · Multiple Choice

   Why does Adams mention the Art Museums and Karl Marx in paragraph 1?

   ATo show that he was an expert critic who could judge the art exhibits of 1900 BTo argue that Marx's theory of history explains how the dynamo works CTo complain that the Exposition had no art exhibits worth a historian's time DAs examples of knowledge he had gathered but could not use at the Exposition

3. Question 3 of 20 · Multiple Choice

   In paragraph 1, Langley "threw out of the field every exhibit that did not reveal a new application of force." What does "threw out of the field" mean here?

   ALeft out of the tour every exhibit that did not show a new use of force BHad those exhibits removed from the Exposition grounds by the guards CCriticized those exhibits sharply in a published report on the fair DRearranged the exhibits in the halls by the kind of force each one used

4. Question 4 of 20 · Multiple Choice

   Paragraph 1 ends by calling the locomotive steam-engine "almost exactly Adams's own age." Why does Adams mention his own age?

   ATo boast that he had lived longer than most of the men who visited the fair BTo say that as a young man he had helped to build the first locomotives CTo measure how much the world of machines had changed within one lifetime DTo give the exact date on which the Exposition opened

5. Question 5 of 20 · Multiple Choice

   Paragraph 2 says that to Langley the dynamo "was but an ingenious channel for conveying somewhere the heat latent in a few tons of poor coal," "but to Adams the dynamo became a symbol of infinity." What does the contrast show?

   ALangley treats the dynamo as sacred, while Adams sees it only as a clever machine BLangley sees a practical way to move coal's energy; Adams sees a sign of limitless power CBoth men worry that the huge dynamo is too dangerous to be shown to the public at a fair DAdams understands how the dynamo works far better than Langley, its scientific guide

6. Question 6 of 20 · Multiple Choice

   Adams "began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross." What does the comparison suggest?

   AThat Adams was converted and became a Christian at the Exposition BThat the dynamos were built in the shape of a cross CThat the early Christians would have opposed electricity DThat the machine stirred in him something like religious awe

7. Question 7 of 20 · Multiple Choice

   What is the spine of this sentence from paragraph 2: "The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within arm's length at some vertiginous speed, and barely murmuring ... while it would not wake the baby lying close against its frame"?

   AThe planet revolved in its old-fashioned annual or daily revolution BThe huge wheel was barely murmuring CThe planet itself seemed less impressive than this huge wheel DIt would not wake the baby

8. Question 8 of 20 · Multiple Choice

   Paragraph 2 says, "Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force." What is Adams doing here?

   ADescribing, half in jest, how the machine moved him, and tracing the urge to instinct BReporting that visitors to the hall knelt and prayed to the dynamos every day of the fair CMocking Langley, his guide, for praying to his own machines in front of visitors DArguing that people ought to worship machines instead of the God of their ancestors

9. Question 9 of 20 · Multiple Choice

   In paragraph 3, "For Adams's objects its value lay chiefly in its occult mechanism." Using context, what does "occult" mean here?

   AEvil, and connected with magic or spirits BNewly invented for the 1900 Exposition CHidden, impossible for him to understand DSimple, familiar and easy to explain

10. Question 10 of 20 · Multiple Choice

    Paragraph 3 says that "the break of continuity amounted to abysmal fracture for a historian's objects." What problem is Adams describing?

    AAs a historian of causes, he could find no link between steam power and electric current BThe dynamo had broken down, so the historians who came to see it could not watch it working CThe engine-house stood too far from the gallery of machines for visitors to walk between the two DHistorians had stopped studying science and machines after the Exposition opened in 1900

11. Question 11 of 20 · Multiple Choice

    Adams reports that Langley "was not responsible for the new rays, that were little short of parricidal in their wicked spirit towards science." How should this be read?

    AAs a literal charge that Langley had committed a crime against science and the public BAs Langley's proud claim that he himself had discovered radium and the new rays CAs a warning from Adams that the new rays were harmful to the health of visitors DAs Adams's playful irony: new rays act like a child killing its parent, science

12. Question 12 of 20 · Multiple Choice

    Bacon writes that "Some books also may be read by deputy, and extracts made of them by others; but that would be only in the less important arguments and the meaner sort of books." What does he mean?

    AA book may be read aloud to a group by one reader, which suits any kind of book BSome books may be read through extracts others make, but only the less important ones COnly officials who act as deputies of the king should be allowed to read some books DImportant books should be read in translation, and lesser books in their first language

13. Question 13 of 20 · Multiple Choice

    In paragraph 3 of De Quincey's passage, all must "pass self-withdrawn into a deep syncope and suspension of earthly passion." Using context, what does "syncope" mean?

    AA shift of the regular beat in a piece of music BA swoon: a loss of consciousness, like a faint CA sudden loud noise, such as a knock DA religious ceremony held after a death

14. Question 14 of 20 · Multiple Choice

    In May of grade 12, a student gets a new essay at the high end of the grades 11-CCR band and asks for a glossary and a summary before reading a word. Under RI.11-12.10, what is the best response?

    AGive both right away, since the band is too hard for any student to read without a summary BGive the summary only, since a glossary would do too much of the reading for the student CMove the student to an easier essay from the grades 9-10 band for the rest of this unit DHave the student read it first with the card, then look up only stubborn words

15. Question 15 of 20 · Short Answer

    Restate this sentence from paragraph 3 of Adams's passage in plain words, keeping every part: "The forces were interchangeable if not reversible, but he could see only an absolute fiat in electricity as in faith."

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16. Question 16 of 20 · Short Answer

    Write a three-sentence précis of Adams's passage (claim, method, attitude).

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17. Question 17 of 20 · Short Answer

    Paragraph 3 begins with "Yet." How does this word change the direction of the passage, and what does paragraph 3 add to paragraph 2?

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18. Question 18 of 20 · Short Answer

    Which of the three questions (spine, stance or line) did you need most on Adams's passage? Name the paragraph, quote the place, and explain how the question got you going again.

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19. Question 19 of 20 · Short Answer

    In "Of Studies," Bacon writes: "Read not to contradict and confute, nor to believe and take for granted, nor to find talk and discourse, but to weigh and consider." Find the spine, restate the sentence in plain words, and explain which of the three uses in Bacon's first sentence the last phrase serves.

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20. Question 20 of 20 · Short Answer

    Adams writes about himself in the third person. Using paragraph 1, explain what the third person lets him do that "I" would not.

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These standards connect to RI.11-12.10: prerequisites to review first, parallel standards at the same level, and next steps that build on it.

Standard text: Common Core State Standards for English Language Arts & Literacy. © Copyright 2010. National Governors Association Center for Best Practices and Council of Chief State School Officers. All rights reserved.