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RI.7.4Common CoreELAReading Informational TextGrade 7

RI.7.4: Word Meaning and Word Choice in Nonfiction

In plain English: RI.7.4 is the Common Core grade 7 ELA standard that asks students to work out what words and phrases mean as they are used in an informational text, including figurative, connotative and technical meanings. Students also analyze how one specific word choice shapes the meaning and the tone of a passage. It builds on RI.6.4.

Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the impact of a specific word choice on meaning and tone.

Common Core State Standards for English Language Arts & Literacy · Domain: Reading Standards for Informational Text · Cluster: Craft and Structure · Official standard

01

Lesson Plan

55-65 min

Overview

Students learn to work out what words and phrases mean as they are used in a nonfiction text, and to explain why a writer chose them. The standard names three kinds of meaning: figurative (words that mean more than, or something other than, their literal sense, as in a simile or personification), connotative (the feelings and associations a word carries beyond its dictionary meaning) and technical (the exact meaning a word has in one field, such as botany or geology). Students then analyze the impact of one specific word choice on the passage's meaning and tone, the writer's attitude toward the subject.

The text is John Muir's essay "A Wind-Storm in the Forests," a chapter of The Mountains of California (1894). Muir, a naturalist, describes a December storm in the Sierra Nevada, when he climbed a tree about 100 feet tall to ride out the wind. His language mixes exact botanical terms with bold figures of speech, which makes it a good text for all three kinds of meaning. The warm-up starts with an invented, plain storm report, so students can hear how much word choice changes tone.

Learning Objectives

By the end of this lesson, students will be able to:

  • Determine the meaning of a word or phrase as it is used in a nonfiction passage, using context clues and a dictionary
  • Explain the figurative meaning of a simile, a metaphor or personification and what it suggests about the subject
  • Distinguish a word's connotation from its denotation and explain how the connotation affects the reader
  • Identify technical words and give their meaning in the field they come from
  • Analyze how one specific word choice shapes the meaning and the tone of a passage

Prior Knowledge Required

Students should already be comfortable with:

  • Determining figurative, connotative and technical meanings in informational texts RI.6.4
  • Using context as a clue to the meaning of a word L.6.4
  • Recognizing a simile (a comparison using "like" or "as") and a metaphor (a comparison without them)
  • Looking up a word in a print or online dictionary and choosing the right definition

Lesson Procedure

55-65 minutes of class time across 5 phases.

  1. Warm-Up5-10 minutes

    Warm-Up Prompt

    "Read the storm report below. Rewrite its third sentence twice: once so the storm sounds frightening, and once so it sounds almost friendly. Keep the facts the same and change only the words."

    Storm report, Ridge Road Trail. A windstorm crossed the area from about 9 a.m. to 3 p.m. on Saturday, with gusts of about 50 miles per hour. Rangers counted 14 fallen trees along the first two miles of trail. Most were pines with shallow roots in wet soil. Two of the trees blocked the trail and were cut and removed on Sunday. No one was hurt, and the trail reopened on Monday morning. Hikers should watch for loose branches overhead for the next week.

    Written for this page, Storm report, Ridge Road Trail (an invented report for the warm-up and Activity 3). Original passage written for this page.

    Share a few rewrites. A frightening version might say the storm "tore down" or "flattened" 14 trees; a friendly one might say the wind "brought down" or "laid down" 14 trees. Ask: did the facts change? (No.) What changed? (The feeling.) Write denotation (the dictionary meaning) and connotation (the feeling a word carries) on the board. Point out that the report uses plain words on purpose: its job is to inform hikers, not to make them feel anything. Tell students that today they will read a writer who described a storm like this one in a completely different way, and they will explain how his words work.

  2. Direct Instruction15 minutes

    Teach five terms and leave them on the board:

    • Literal meaning: what the words mean exactly.
    • Figurative meaning: a meaning beyond the literal one. Similes compare with "like" or "as"; metaphors compare without them; personification gives human actions or feelings to something that is not human.
    • Connotation: the feelings and associations a word carries. "Curious" and "nosy" have almost the same denotation, but one sounds good and one sounds bad.
    • Technical meaning: the exact meaning a word has in a particular field, such as botany (the study of plants) or geology (the study of rocks and the earth).
    • Tone: the writer's attitude toward the subject, such as admiring, joyful, worried or matter-of-fact. Word choice is the main way a writer creates it.

    Introduce the text. John Muir (1838-1914) was born in Scotland and grew up on a farm in Wisconsin. He walked and climbed through the Sierra Nevada, the mountain range along eastern California, for years, and he wrote to persuade Americans to protect wild places; he helped found the Sierra Club in 1892. The Mountains of California (1894) was his first book. Passage 1 is the opening of his chapter on windstorms. Words to know: bestowed (given as a gift), restricted (limited), scope (range), universal (reaching everything), swoop (one quick, sweeping move), furrowed (marked with deep grooves), buttresses (supports that brace a wall; here, rock ridges that seem to brace the peaks), retiring (shy), dells (small wooded valleys), lusty (strong and full of energy), ineffable (too great to describe), ever and anon (every now and then), thickset (short and sturdy), unscathed (unharmed), manifest (plain to see), deplore (be sorry about) and implement (tool).

    The mountain winds, like the dew and rain, sunshine and snow, are measured and bestowed with love on the forests to develop their strength and beauty. However restricted the scope of other forest influences, that of the winds is universal. The snow bends and trims the upper forests every winter, the lightning strikes a single tree here and there, while avalanches mow down thousands at a swoop as a gardener trims out a bed of flowers. But the winds go to every tree, fingering every leaf and branch and furrowed bole; not one is forgotten; the Mountain Pine towering with outstretched arms on the rugged buttresses of the icy peaks, the lowliest and most retiring tenant of the dells; they seek and find them all, caressing them tenderly, bending them in lusty exercise, stimulating their growth, plucking off a leaf or limb as required, or removing an entire tree or grove, now whispering and cooing through the branches like a sleepy child, now roaring like the ocean; the winds blessing the forests, the forests the winds, with ineffable beauty and harmony as the sure result.

    After one has seen pines six feet in diameter bending like grasses before a mountain gale, and ever and anon some giant falling with a crash that shakes the hills, it seems astonishing that any, save the lowest thickset trees, could ever have found a period sufficiently stormless to establish themselves; or, once established, that they should not, sooner or later, have been blown down. But when the storm is over, and we behold the same forests tranquil again, towering fresh and unscathed in erect majesty, and consider what centuries of storms have fallen upon them since they were first planted,—hail, to break the tender seedlings; lightning, to scorch and shatter; snow, winds, and avalanches, to crush and overwhelm,—while the manifest result of all this wild storm-culture is the glorious perfection we behold; then faith in Nature’s forestry is established, and we cease to deplore the violence of her most destructive gales, or of any other storm-implement whatsoever.

    John Muir, The Mountains of California, chapter X, "A Wind-Storm in the Forests" (Passage 1: the opening) (1894). Public domain (published 1894). Source text.
    • Figurative meaning: personification

      Paragraph 1: the winds go to every tree, "fingering every leaf and branch and furrowed bole" and "caressing them tenderly." Winds do not have fingers. What do these words mean here?

      Result: Literally, fingering and caressing are things a hand does with care. Figuratively, Muir means the wind touches every part of every tree, gently and one by one. The personification turns the wind into a careful, loving caretaker, which matches the first sentence: the winds are "bestowed with love on the forests."

    • Figurative meaning: simile

      Paragraph 1: "avalanches mow down thousands at a swoop as a gardener trims out a bed of flowers." What does the comparison suggest about avalanches?

      Result: An avalanche that knocks down thousands of trees sounds like pure destruction, but a gardener trims a flower bed to help it grow. The simile asks readers to see even the most violent event as a kind of tending. Its impact on meaning: destruction becomes care. Its impact on tone: calm and approving instead of alarmed.

    • Technical meaning

      Paragraph 1 lists "every leaf and branch and furrowed bole." What is a bole?

      Result: Context helps: the list moves from the smallest part of a tree (a leaf) to a bigger part (a branch) to the biggest, which is "furrowed," with deep grooves like bark. In forestry and botany, a bole is the main trunk of a tree. Muir uses the exact term a naturalist would use, which tells readers he knows trees closely.

    • Connotation and tone

      Paragraph 2 calls the result of centuries of hail, lightning and avalanches "this wild storm-culture." Why "culture" and not "damage"?

      Result: Both words could name what storms do to a forest, but they carry opposite feelings. "Damage" connotes loss. "Culture" connotes growing and tending, as in agriculture, the way a farmer raises crops. With one word Muir changes the meaning (storms help make the forest) and sets an admiring tone, which he makes explicit when he names "Nature’s forestry" in the same sentence.

    Meaning, kind, impact. Show Diagram 1 and model the three moves with the fourth example: give the meaning as used, name the kind of meaning (figurative, connotative or technical), and explain the impact of the choice on meaning and tone. Give students one sentence frame: "When Muir writes ___, the word ___ means ___ here. It is a (figurative / connotative / technical) choice, and it makes the passage sound ___ because ___." Then show Diagram 2 and ask where the plain storm report's words would sit on the line.

  3. Guided Practice15 minutes

    Read Passage 2 aloud. It follows Passage 1 directly and turns from the winds to the trees themselves. Muir names trees as people did in his time; his Yellow or Silver Pine is the tree now called the ponderosa pine. Words to know: Juniper and Dwarf Pine (small, tough trees of the highest peaks), ledges (narrow shelves of rock), lithe (bending easily), agent (a force that causes something), admirable (worth admiring), lower zones (the lower belts of the mountains), densely foliaged (covered thickly with leaves or needles), blast (a strong gust), overturned (knocked over), sparsely (thinly, with space between) and ice-sheet (a huge layer of ice covering land).

    There are two trees in the Sierra forests that are never blown down, so long as they continue in sound health. These are the Juniper and the Dwarf Pine of the summit peaks. Their stiff, crooked roots grip the storm-beaten ledges like eagles’ claws, while their lithe, cord-like branches bend round compliantly, offering but slight holds for winds, however violent. The other alpine conifers—the Needle Pine, Mountain Pine, Two-leaved Pine, and Hemlock Spruce—are never thinned out by this agent to any destructive extent, on account of their admirable toughness and the closeness of their growth. In general the same is true of the giants of the lower zones. The kingly Sugar Pine, towering aloft to a height of more than 200 feet, offers a fine mark to storm-winds; but it is not densely foliaged, and its long, horizontal arms swing round compliantly in the blast, like tresses of green, fluent algae in a brook; while the Silver Firs in most places keep their ranks well together in united strength. The Yellow or Silver Pine is more frequently overturned than any other tree on the Sierra, because its leaves and branches form a larger mass in proportion to its height, while in many places it is planted sparsely, leaving open lanes through which storms may enter with full force. Furthermore, because it is distributed along the lower portion of the range, which was the first to be left bare on the breaking up of the ice-sheet at the close of the glacial winter, the soil it is growing upon has been longer exposed to post-glacial weathering, and consequently is in a more crumbling, decayed condition than the fresher soils farther up the range, and therefore offers a less secure anchorage for the roots.

    John Muir, The Mountains of California, chapter X, "A Wind-Storm in the Forests" (Passage 2: the trees that stand and the trees that fall) (1894). Public domain (published 1894). Source text.

    Pairs fill in the three-column chart (Diagram 1) for four words or phrases, one at a time. Ask for the meaning first, then the kind, then the impact, and share the teacher note after pairs have tried:

    1. "The other alpine conifers" (technical). Teacher note: conifers are trees that bear cones, most with needles; alpine describes high mountains near or above the tree line. Context helps: every tree named after the dash is a pine, a spruce or a hemlock, all cone-bearing trees. The technical terms make the paragraph sound like careful science.
    2. "grip the storm-beaten ledges like eagles’ claws" (figurative). Teacher note: a simile. The roots hold the rock the way an eagle's claws hold its perch: tightly, with strength. It explains the meaning (the roots cannot be pulled free) and makes these small trees sound fierce and proud.
    3. "The kingly Sugar Pine" (connotative). Teacher note: "tall" would give the fact, but "kingly" adds the feelings of a king: power, dignity and rank above others. The choice makes the tree seem noble and sets an admiring tone.
    4. "keep their ranks well together in united strength" (figurative and connotative). Teacher note: ranks are rows of soldiers. Muir pictures the Silver Firs as an army standing shoulder to shoulder, so they cannot be pushed over one by one. Ask pairs: what does this word choice suggest about why they survive storms? (They protect each other by growing close together.)
  4. Independent Practice15 minutes

    Students read Passage 3 on their own. It comes from the middle of the chapter: on a warm, bright day in December 1874, in a valley that drains into the Yuba River, Muir hears the storm begin and walks straight out into it. Words to know: mottled (marked with spots), pine-tassels (clusters of pine needles), plumes (feathery sprays), pollen (the fine powder that flowering and cone-bearing plants release to make seeds), withered (dried up), bracken (a large fern), boles (trunks), tried (tested), fluently (smoothly, in a flowing way), keen (sharp), lances (long spears), sprays (small branches with their needles), tresses (long locks of hair), in bold relief (standing out sharply against the background), spangles (small shiny pieces), colossal (huge), supple (bending easily), golden-rods (tall wildflowers with yellow plumes), tremulous (trembling), kindled (set on fire), steadfast (firm and loyal), monarch (a king or queen) and perceptible (able to be noticed). The rest of the words are for you to work out.

    It was still early morning when I found myself fairly adrift. Delicious sunshine came pouring over the hills, lighting the tops of the pines, and setting free a steam of summery fragrance that contrasted strangely with the wild tones of the storm. The air was mottled with pine-tassels and bright green plumes, that went flashing past in the sunlight like birds pursued. But there was not the slightest dustiness, nothing less pure than leaves, and ripe pollen, and flecks of withered bracken and moss. I heard trees falling for hours at the rate of one every two or three minutes; some uprooted, partly on account of the loose, water-soaked condition of the ground; others broken straight across, where some weakness caused by fire had determined the spot. The gestures of the various trees made a delightful study. Young Sugar Pines, light and feathery as squirrel-tails, were bowing almost to the ground; while the grand old patriarchs, whose massive boles had been tried in a hundred storms, waved solemnly above them, their long, arching branches streaming fluently on the gale, and every needle thrilling and ringing and shedding off keen lances of light like a diamond. The Douglas Spruces, with long sprays drawn out in level tresses, and needles massed in a gray, shimmering glow, presented a most striking appearance as they stood in bold relief along the hilltops. The madroños in the dells, with their red bark and large glossy leaves tilted every way, reflected the sunshine in throbbing spangles like those one so often sees on the rippled surface of a glacier lake. But the Silver Pines were now the most impressively beautiful of all. Colossal spires 200 feet in height waved like supple golden-rods chanting and bowing low as if in worship, while the whole mass of their long, tremulous foliage was kindled into one continuous blaze of white sun-fire. The force of the gale was such that the most steadfast monarch of them all rocked down to its roots with a motion plainly perceptible when one leaned against it. Nature was holding high festival, and every fiber of the most rigid giants thrilled with glad excitement.

    John Muir, The Mountains of California, chapter X, "A Wind-Storm in the Forests" (Passage 3: out in the storm, December 1874) (1894). Public domain (published 1894). Source text.

    On the handout, students (1) choose one word in Passage 3 that they did not know and that is not on the list above, and use context to write its meaning as used, then check it in a dictionary; (2) find two figurative phrases and explain what each compares and what the comparison suggests; (3) choose one word with a strong connotation and explain its impact on the tone of the passage. The quiz uses Passages 2, 3 and 4.

  5. Closure5-10 minutes

    Read Passage 4, the last three paragraphs of the chapter, aloud. Words to know: the milky way (our galaxy, which carries the earth and everything on it through space), extensive (long or far-reaching), abate (grow weaker), dismounted (climbed down), beheld (saw), amber (golden yellow) and immortal (living forever).

    We all travel the milky way together, trees and men; but it never occurred to me until this storm-day, while swinging in the wind, that trees are travelers, in the ordinary sense. They make many journeys, not extensive ones, it is true; but our own little journeys, away and back again, are only little more than tree-wavings—many of them not so much.

    When the storm began to abate, I dismounted and sauntered down through the calming woods. The storm-tones died away, and, turning toward the east, I beheld the countless hosts of the forests hushed and tranquil, towering above one another on the slopes of the hills like a devout audience. The setting sun filled them with amber light, and seemed to say, while they listened, “My peace I give unto you.”

    As I gazed on the impressive scene, all the so-called ruin of the storm was forgotten, and never before did these noble woods appear so fresh, so joyous, so immortal.

    John Muir, The Mountains of California, chapter X, "A Wind-Storm in the Forests" (Passage 4: the end of the chapter) (1894). Public domain (published 1894). Source text.

    Exit ticket: (1) In one sentence, explain how a technical meaning is different from a figurative one, using one example from today. (2) Choose one word or phrase from Passage 4 and write one sentence about how it affects the tone.

    Teacher note on history, science and safety: The Mountains of California was published in 1894, twenty years after the storm, and Muir writes as a naturalist who wanted readers to love wild places. He often writes about Nature, the winds and the trees as if they had feelings; that is a figurative choice, not a scientific claim, and students can say so. Some of his science is of his time: Muir believed a great ice sheet once covered the whole range. Geologists today describe ice fields and valley glaciers in the higher Sierra, while much of the lower western slope, where the Yellow Pine grows, was never covered by ice. His "Douglas Spruce" is the tree now called the Douglas-fir. Make clear to students that climbing a tall tree in a windstorm is extremely dangerous and that Muir was an experienced climber; the right response to a real windstorm is to stay away from trees. Passage 4 quotes the Bible, "My peace I give unto you" (from the Gospel of John); Muir, raised in a strict religious home, often used such allusions, and the quiz asks only what the words suggest in the passage.

    For homework: students read Passage 5, printed below. It comes from the middle of the chapter, a little after Passage 3, when Muir reaches the top of a ridge around midday. Words to know: tingling (prickling with excitement), copses (thickets of small trees), hazel and ceanothus (shrubs; ceanothus is also called California lilac), outlook (a view), casting about (searching), comparatively (compared with others), brushy (covered with small branches), swished (moved with a soft rushing sound), vertical (straight up and down) and horizontal (flat, side to side). Leave the other words for students to work out: the homework asks about them.

    Toward midday, after a long, tingling scramble through copses of hazel and ceanothus, I gained the summit of the highest ridge in the neighborhood; and then it occurred to me that it would be a fine thing to climb one of the trees to obtain a wider outlook and get my ear close to the Aeolian music of its topmost needles. But under the circumstances the choice of a tree was a serious matter. One whose instep was not very strong seemed in danger of being blown down, or of being struck by others in case they should fall; another was branchless to a considerable height above the ground, and at the same time too large to be grasped with arms and legs in climbing; while others were not favorably situated for clear views. After cautiously casting about, I made choice of the tallest of a group of Douglas Spruces that were growing close together like a tuft of grass, no one of which seemed likely to fall unless all the rest fell with it. Though comparatively young, they were about 100 feet high, and their lithe, brushy tops were rocking and swirling in wild ecstasy. Being accustomed to climb trees in making botanical studies, I experienced no difficulty in reaching the top of this one, and never before did I enjoy so noble an exhilaration of motion. The slender tops fairly flapped and swished in the passionate torrent, bending and swirling backward and forward, round and round, tracing indescribable combinations of vertical and horizontal curves, while I clung with muscles firm braced, like a bobolink on a reed.

    John Muir, The Mountains of California, chapter X, "A Wind-Storm in the Forests" (Passage 5: the climb) (1894). Public domain (published 1894). Source text.

Differentiation Strategies

For Struggling Students

  • Give them the three-column chart with the kind of meaning already filled in for each phrase, so they work only on the meaning and the impact
  • Pair each figurative phrase with a picture or a quick sketch on the board (eagle's claws, a gardener trimming flowers) before they explain it
  • Offer a short word bank of tone words: admiring, joyful, calm, fearful, worried, matter-of-fact

For Advanced Students

  • Ask them to find three words in Passage 3 that Muir uses for light, and to explain how together they build one tone
  • Have them rewrite one sentence of Passage 3 in the plain style of the storm report and write a short note on what the passage loses
  • Ask them to find a place where Muir uses a technical word and a figurative phrase in the same sentence, and to explain why a naturalist might mix the two

Assessment Guidance

What to Look For

Check that students give the meaning of a word as it is used in the sentence, not just its first dictionary definition, and that they name the kind of meaning correctly. Watch for three weak spots: treating a figurative phrase as literal ("the trees really were singing"), naming a connotation without saying whether it is positive or negative, and explaining tone with a vague word like "descriptive." Strong answers link one specific word to a specific effect: what the word makes the reader picture or feel, and how that shapes the writer's attitude toward the storm.

02

Classroom Activities

3 Activities

1

Connotation Line

15 minPairs

Each pair gets three sets of four word cards and a paper line marked "negative" at one end and "positive" at the other. The words in each set have close denotations. Pairs place each set on the line, then find the word Muir chose and explain why he chose it.

The Three Sets

  • Set 1, a very tall tree: towering, kingly, tall, looming (Muir's word is in Passage 2)
  • Set 2, what storms do to a forest: destruction, damage, trimming, storm-culture (Passage 1, paragraph 2)
  • Set 3, what wind does to branches: beating, shoving, stretching, lusty exercise (Passage 1, paragraph 1)

Procedure

  • Pairs place the four cards of each set along the line and agree on the order, then write one sentence explaining the most positive card
  • They find Muir's word in the passage, circle it, and write how the sentence would feel with the most negative word instead
  • Answer key for the teacher, from negative to positive (small differences in order are fine if pairs can explain them): Set 1, looming, tall, towering, kingly; Set 2, destruction, damage, trimming, storm-culture; Set 3, beating, shoving, stretching, lusty exercise. In every set Muir chose the most positive word (in Set 1, pairs may also find "towering" in the same sentence of Passage 2; point out that Muir adds the even stronger "kingly"), which is why his storm sounds healthy rather than harmful

Discussion Questions

  • "Tall" is the most neutral word in Set 1. When would a writer choose a neutral word on purpose?
  • In every set Muir picked the most positive word. What does that pattern tell you about his tone toward storms?
  • Which words would the writer of the warm-up storm report choose, and why?

Modification

For students who need support, start with Set 1 only and place "tall" in the middle of the line as a model.

2

Sort the Phrase Strips

15 minGroups of 3-4

Groups get ten phrase strips from Passages 1 and 2 and a sorting mat with three columns: figurative, technical, and literal everyday words. They sort the strips and write the meaning of each one as used. Some strips could go in two columns if the group can explain why.

The Ten Strips

  1. "the lowliest and most retiring tenant of the dells" (Passage 1)
  2. "pines six feet in diameter" (Passage 1)
  3. "now roaring like the ocean" (Passage 1)
  4. "Nature’s forestry" (Passage 1)
  5. "the Mountain Pine towering with outstretched arms" (Passage 1)
  6. "hail, to break the tender seedlings" (Passage 1)
  7. "lithe, cord-like branches" (Passage 2)
  8. "The other alpine conifers" (Passage 2)
  9. "a height of more than 200 feet" (Passage 2)
  10. "leaving open lanes through which storms may enter with full force" (Passage 2)

Procedure

  • Groups read each strip in its sentence before sorting it, and write the meaning as used on the back
  • For every figurative strip, they write what is being compared to what
  • Answer key for the teacher: figurative, strips 1 (a small plant pictured as a shy renter living in a valley), 3 (the wind's sound compared to the ocean), 4 (nature pictured as a forester who manages woods), 5 (branches pictured as arms), 7 (branches compared to cords) and 10 (gaps between trees pictured as roads the storm travels); technical, strips 2 (diameter, the width across a trunk) and 8 (cone-bearing trees of the high mountains); literal everyday words, strips 6 and 9. Accept strip 7 as partly literal (lithe) and strip 10 as partly literal if groups explain it

Discussion Questions

  • Why might a naturalist use measurements such as "six feet in diameter" right next to figures of speech?
  • Strip 4 puts two words together, Nature and forestry. What does each word add?
  • Which strip was hardest to sort, and what did your group decide?
3

Tone Swap

10 minPairs

Pairs rewrite one sentence of the plain storm report from the warm-up in Muir's style, and one sentence of Muir's in the report's style. Then they explain what changed in the meaning and the tone. Rewriting in both directions shows that word choice, not the facts, creates tone.

The Two Sentences

  • From the storm report: "Rangers counted 14 fallen trees along the first two miles of trail."
  • From Passage 1, paragraph 2: "After one has seen pines six feet in diameter bending like grasses before a mountain gale, and ever and anon some giant falling with a crash that shakes the hills, it seems astonishing that any, save the lowest thickset trees, could ever have found a period sufficiently stormless to establish themselves."

Procedure

  • Pairs rewrite the report sentence using at least one figurative phrase and one word with a strong connotation
  • They rewrite Muir's sentence as a plain report sentence with no figurative language
  • They write two sentences explaining how the tone changed and what each version is better for
  • Model answer for the teacher: Muir's sentence as a report might read "Large pines bend in strong winds, and some fall." It keeps the facts but loses the wonder of "bending like grasses" and the drama of "some giant falling with a crash that shakes the hills"; the report is better for hikers who need facts, and Muir's version is better for making readers feel the storm

Variation

For a harder version, pairs rewrite the whole storm report in Muir's admiring tone, keeping every fact, and then underline each word they changed.

03

Diagrams & Visual Aids

2 diagrams

Diagram 1: Meaning, Kind and Impact

Meaning, kind, impact: three words from Passage 1 Words in Passage 1 Meaning as used Kind Impact on meaning and tone "fingering every leaf" the wind touches each part, gently figurative wind as a caring person; loving, gentle tone "furrowed bole" a tree's grooved main trunk technical exact naturalist's word; careful, expert tone "storm-culture" storms help raise the forest connotative growth instead of loss; admiring tone Your turn (Guided Practice): add a row for each phrase from Passage 2
The three-column chart used in Direct Instruction and Guided Practice, filled in for three words from Passage 1: one figurative, one technical and one connotative choice. Pairs add rows for Passage 2.

Diagram 2: A Connotation Line for Wind Words

Same action, different feelings: what the wind does to a tree negative neutral positive battering shaking moving fingering caressing Filled dots: Muir's words in Passage 1. All five describe wind acting on a tree, but each one sets a different tone. A plain report would stay near the middle.
Five verbs with similar denotations placed from negative to positive connotation. Muir's choices in Passage 1, "fingering" and "caressing," sit at the positive end, which helps create his loving tone toward the storm.

04

Homework Assignment

~30 min

RI.7.4 Homework: The Climb

Directions: Read Passage 5 at the end of the lesson plan (in Closure). It is one paragraph, so cite it as (Passage 5); cite the other passages by passage and paragraph number. Use a dictionary where a question asks you to. Answer in complete sentences, and put every quotation in quotation marks.

Part 1: Meanings in Context (Problems 1-3)

  1. Muir says one tree "whose instep was not very strong seemed in danger of being blown down." Look up instep. What is its usual meaning, and what does it mean for a tree in this sentence? Is this a figurative or a technical use? Explain.
  2. Muir wants to get his ear "close to the Aeolian music of its topmost needles." Look up Aeolian: it comes from the name of Aeolus, the keeper of the winds in Greek myth, and an Aeolian harp is an instrument that the wind plays by itself. What does the phrase tell you about the sound Muir expected to hear?
  3. Muir chose "the tallest of a group of Douglas Spruces that were growing close together like a tuft of grass." Explain the simile and how it connects to his reason for choosing that tree. Then explain what "botanical studies" means and what the phrase tells you about Muir.

Part 2: Word Choice, Meaning and Tone (Problems 4-6)

  1. Find three words or phrases in Passage 5 that describe the motion of the treetops or how Muir felt about it (for example, "wild ecstasy"). For each, give its connotation (positive or negative, and what feelings it carries). What tone do the three create together?
  2. Muir ends by saying he "clung with muscles firm braced, like a bobolink on a reed." A bobolink is a small songbird that perches on tall grasses. Suppose he had written "like a sailor clinging to a broken mast" instead. Explain how each simile changes the meaning and the tone of the sentence.
  3. Write a paragraph of 6-8 sentences answering: How does Muir's word choice make a dangerous storm sound joyful? Use at least four words or phrases from at least two passages, including one figurative, one connotative and one technical meaning. Give the meaning of each as used and explain its impact on the tone.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
Meaning as UsedGives the meaning the word has in this sentence, checked against contextGives a dictionary meaning that does not fit the sentenceNo meaning, or a wrong one
Kind of MeaningCorrectly names figurative, connotative or technical and explains whyNames the kind without explainingNames the wrong kind
Impact on Meaning and ToneExplains what the specific word makes the reader picture or feel and names the toneNames a tone but does not link it to the wordNo explanation of impact
EvidenceExact quotations with passage numbersQuotations without locationsNo quotation

05

Quiz: 20 Questions

Interactive, with answers

Instructions

Questions 1-3 are about word meaning in general. Questions 4-7 use Passage 2 (Guided Practice), questions 8-14 and 20 use Passage 3 (Independent Practice), and questions 15-18 use Passage 4 (Closure). Question 19 uses the storm report from the warm-up and Passage 3 or 4. Each passage is one paragraph, except Passage 4. Your score updates as you answer, and Reset quiz clears everything.

Multiple choice: pick an option to check it. Short answer: write your answer, then reveal the model answer.

0 of 20 answered · 0 correct

  1. Question 1 of 20 · Multiple Choice

    Which word has the most positive connotation for a person who is careful about spending money?

  2. Question 2 of 20 · Multiple Choice

    In which sentence is drowning used figuratively?

  3. Question 3 of 20 · Multiple Choice

    A science article says, "The nucleus controls what the cell does and how it grows." What does nucleus mean in this sentence?

  4. Question 4 of 20 · Multiple Choice

    In Passage 2, the Juniper's and Dwarf Pine's branches "bend round compliantly, offering but slight holds for winds." What does compliantly mean here?

  5. Question 5 of 20 · Multiple Choice

    Passage 2 says the soil under the Yellow Pine "offers a less secure anchorage for the roots." What does anchorage mean in this sentence?

  6. Question 6 of 20 · Multiple Choice

    Muir writes that the Sugar Pine's long branches "swing round compliantly in the blast, like tresses of green, fluent algae in a brook" (Passage 2). What does this simile suggest about the branches?

  7. Question 7 of 20 · Short Answer

    Passage 2 says the ground under the Yellow Pine "has been longer exposed to post-glacial weathering." Explain what post-glacial weathering means, using the parts of the phrase, and how it helps explain why this pine falls more often.

  8. Question 8 of 20 · Multiple Choice

    Passage 3 begins, "It was still early morning when I found myself fairly adrift." What does fairly adrift mean here?

  9. Question 9 of 20 · Multiple Choice

    Muir writes that pine-tassels and plumes "went flashing past in the sunlight like birds pursued" (Passage 3). What does this simile add?

  10. Question 10 of 20 · Multiple Choice

    Muir calls the oldest Sugar Pines "the grand old patriarchs, whose massive boles had been tried in a hundred storms" (Passage 3). What connotation does patriarchs give the trees?

  11. Question 11 of 20 · Multiple Choice

    Passage 3 says, "The madroños in the dells, with their red bark and large glossy leaves tilted every way, reflected the sunshine." Using context, what are madroños?

  12. Question 12 of 20 · Multiple Choice

    Near the end of Passage 3, Muir writes, "Nature was holding high festival." What is the impact of the word festival on the tone?

  13. Question 13 of 20 · Multiple Choice

    Muir writes that the Silver Pines "waved like supple golden-rods chanting and bowing low as if in worship" (Passage 3). Which tone do these words create?

  14. Question 14 of 20 · Short Answer

    Choose two words or phrases in Passage 3 with strong positive connotations. For each, explain the feelings it carries, and then name the tone the two words help create.

  15. Question 15 of 20 · Multiple Choice

    In Passage 4, Muir writes, "all the so-called ruin of the storm was forgotten." What is the impact of the word so-called?

  16. Question 16 of 20 · Multiple Choice

    In Passage 4, Muir sees the forests "towering above one another on the slopes of the hills like a devout audience." What does the simile suggest?

  17. Question 17 of 20 · Multiple Choice

    Passage 4 ends with the setting sun seeming to say, "My peace I give unto you," a line from the Bible. What does this allusion add?

  18. Question 18 of 20 · Multiple Choice

    In Passage 4, Muir says that he "dismounted and sauntered down through the calming woods." Which word has the connotation closest to sauntered?

  19. Question 19 of 20 · Short Answer

    The storm report in the warm-up and Muir's essay describe the same kind of event: a windstorm that knocks down trees. Choose one word or phrase from the report and one from Passage 3 or 4 that describe the storm or its effects. Explain how each choice shapes the tone, and why each writer might have chosen it.

  20. Question 20 of 20 · Short Answer

    Find one technical word and one figurative phrase in Passage 3 that are not in its word list. Give the meaning of each as used, and explain what each adds to the passage.

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does RI.7.4 mean?

It means seventh graders must work out what words and phrases mean in the sentence where they appear, and explain why the writer chose them. The standard names three kinds of meaning, figurative, connotative and technical, and then asks students to analyze how one specific word choice affects the meaning and the tone of the text.

How is RI.7.4 different from RI.6.4?

RI.7.4 adds a second task. RI.6.4 asks students to determine figurative, connotative and technical meanings. RI.7.4 keeps that and adds "analyze the impact of a specific word choice on meaning and tone." In grade 8, RI.8.4 adds analogies and allusions to other texts, and in grades 9-10 students look at the cumulative impact of many word choices together.

What is the difference between denotation and connotation?

Denotation is a word's dictionary meaning; connotation is the feeling it carries. "Kingly" and "tall" can both describe a big tree, but "kingly" adds power and dignity. A quick test: if two words could swap in a sentence without changing the facts but the sentence feels different, their connotations differ.

What counts as a technical meaning in RI.7.4?

A technical meaning is the exact sense a word has in one field of study or work. In Muir's essay, "bole" (a trunk) and "conifers" (cone-bearing trees) are terms from botany and forestry. Some everyday words also have technical meanings, such as "current" in physics or "weathering" in geology. Students should name the field and give the meaning used there.

Why teach figurative language with nonfiction instead of poetry?

Because many nonfiction writers use it on purpose, and RI.7.4 asks students to notice it there. Science writers, journalists and naturalists use similes and metaphors to help readers picture things they have never seen. Muir compares roots to eagles' claws to explain how a small tree survives. Seeing figurative language in nonfiction also helps students notice when a text is trying to make them feel something.

How do students explain tone without just saying the text is descriptive?

Give them a list of real tone words and a frame. "Descriptive" names a style, not an attitude. Tone words such as admiring, joyful, reverent, worried, bitter or matter-of-fact say how the writer feels about the subject. The frame "The word ___ makes the passage sound ___ because ___" forces the link between one word and the tone.

Can students use a dictionary for RI.7.4?

Yes, and they should, after they try context first. The standard asks for the meaning "as used in a text," so the dictionary's first definition is not always right. Students should read the sentence, guess from context, then check the dictionary and choose the definition that fits. The grade 7 language standard L.7.4 describes the same steps.

How is RI.7.4 usually assessed?

Usually with questions that ask what a word or phrase means in a passage and how it affects tone. Many are multiple choice, with wrong options that give the word's literal or everyday meaning. Written responses ask students to explain the impact of a word choice with evidence. This lesson's quiz uses both kinds.

Is John Muir's writing too hard for seventh graders?

Not with support. His sentences are long, but his subject, a storm and a climb up a swaying tree, is easy to picture, and his vocabulary is exactly what the standard asks students to work on. The lesson gives a word list before each passage and leaves a few words for students to work out from context, which is the skill being practiced.

What should teachers tell students about Muir climbing a tree in a storm?

That it was dangerous and that they should never try it. Muir was an experienced climber and naturalist, and even so he chose his tree carefully, as Passage 5 describes. The teacher note in Closure suggests how to raise it. The real lesson of the passage is about how he describes the storm, not what he did in it.