Grade 8: Module 2

Student Workbook

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 GRADE 8: MODULE 2

Unit 1: Lesson 1

Notice/Wonder Note-catcher

Name:

Date:

Notice Wonder

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 GRADE 8: MODULE 2

Unit 1: Lesson 1
The Lure of Shakespeare by Robert Butler
From Past to Present
Many people consider Shakespeare the greatest writer in the English language. His legions of
admirers point with awe to the rhythm of his words and the wide range of human emotions he
portrays and evokes. But has Shakespeare always been so popular? And how did an Elizabethan actor-
turned-playwright become a world-famous figure?

From the start, Shakespeare was popular among the English. Shortly after his death, his plays were
published in a collection known as the First Folio (1623), with a poem by Ben Jonson included that
featured the lines, "He was not of an age, but for all time!" The memory of Shakespeare remained
strong among audiences as well, since his plays were produced regularly by many companies.

But in 1642. during the English Civil War, the theaters of London were closed by order of the
Government and remained so for 18 years. By the time they reopened in 1660, styles had changed.
The court of the new king wanted a more elegant, refined, classical world, and Shakespeare struck
them as coarse in his language and careless in his plots. His comedies, in particular, fell out of favor as
the years passed.

By the 1700s, however, a turnaround had begun. The first new edition of his plays in nearly a century,
along with the first biography ever written, appeared in 1709 and immediately sparked a Shakespeare
revival. Despite continuing questions about his style, which led many producers to cut or alter his
plays (sometimes even writing new endings for them), audiences were enthusiastic. Great
performances also helped. David Garrick, the greatest actor of the century, and Sarah Siddons, the
greatest actress, were both enthusiastic

Shakespeare supporters and starred in many of his plays at the Drury Lane Theatre.

In the 1800s, Shakespeare's popularity soared. Multivolume editions of his plays were published,
exuberant productions and extravagant sets supported stars such as Fanny Kemble and Edmund
Kean, and touring companies brought small-scale versions of Shakespeare to towns and villages
everywhere.

In the 20th century, Shakespeare remained as popular as ever, with actors such as Sir Laurence
Olivier, Sir John Gielgud, and Kenneth Branagh bringing his characters to life. Students around the
world now read Shakespeare in literature classes, and his plays are

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 GRADE 8: MODULE 2

Unit 1: Lesson 1
The Lure of Shakespeare by Robert Butler

sometimes staged in modern-day costume to emphasize his significance to today's world.

More remarkable is the story of Shakespeare's popularity in other lands.

News of Shakespeare's talent spread even during his lifetime. Occasionally, a foreign merchant or
diplomat saw a Shakespearean production. In 1601, the Russian ambassador was present when
Twelfth Night was first performed. Traveling companies of English actors staged some of
Shakespeare's plays in Germany and Poland while the playwright was still alive. But it was the great
French author Voltaire who truly popularized Shakespeare beyond English shores in the 1730s. From
that time onward, Shakespeare's works have been extensively studied and performed around the
world.

In America, copies of the plays are believed to have circulated in the late 1600s, and the first
performance was Romeo and Juliet in the early 1700s. A century later, Americans practically
worshiped Shakespeare. Philosopher and poet Ralph Waldo Emerson called him "the first poet of the
world." In the 1900s, Shakespeare's works were being translated and printed in India, Africa, China,
and Japan.

In the 20th century, a new medium inspired countless variations on the Shakespeare canon: the
movies. Some have been filmed as recreated plays, such us Romeo and Juliet (1968) or Henry V
(1989). Others were adapted stories in modern settings such as West Side Story (1961) or Richard III
(1995). Still others were transposed into stories in a completely different land and culture such as Ran
(1985), a Japanese tale of samurai based mostly on King Lear.

Whether recorded or live, the performance of a major Shakespeare role is traditionally seen as the
ultimate test of an actor's ability. From Richard Burbage in the 1500s to Ian McKellen and Judi Dench
today, the greatest actors are those who are able to master Shakespeare. By itself, this is the most
enduring tribute to the theatrical talent of William Shakespeare, the Bard of Avon.

From Calliope issue: William Shakespeare, Master Playwright, © 2005 Carus Publishing Company, published by Cobblestone Publishing, 30 Grove Street, Suite C,
Peterborough, NH 03458. All Rights Reserved. Used by permission of the publisher. www.cobblestonepub.

Unit 1: Lesson 1

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 GRADE 8: MODULE 2

Advantages/Disadvantages T-Chart

Name:

Date:

Shakespeare Images

What did you learn about the universal appeal of Shakespeare from looking at the images?

What are the advantages of using images in What are the disadvantages of using images in
learning about this topic? How is it positive or learning about this topic? How is it negative or
helpful? unhelpful?

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Unit 1:Lesson 1
Advantages/Disadvantages T-Chart

“The Lure of Shakespeare”

What did you learn about the universal appeal of Shakespeare from reading the text?

What are the advantages of reading text to learn What are the disadvantages of reading text to
about this topic? How is it positive or helpful? learn about this topic? How is it negative or
unhelpful?

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 GRADE 8: MODULE 2

The Shakespeare Shakedown

Newsweek, October 24, 2011
Byline: Simon Schama The new film 'Anonymous' says the Bard was a fraud. Don't buy it.

Roland Emmerich's inadvertently1 comic new movie, Anonymous, purports to announce to the world
that the works we deluded souls imagine to have been written by one William Shakespeare were
actually penned by Edward de Vere, the 17th Earl of Oxford. James Shapiro's fine book Contested Will
chronicles the long obsession with depriving Shakespeare of authentic authorship of his works, mostly
on the grounds that no manuscripts survive but also that his cultural provenance2 was too lowly, and
his education too rudimentary3, to have allowed him to penetrate the minds of kings and courtiers.
Only someone from the upper crust, widely traveled and educated at the highest level, this argument
runs, could have had the intellectual wherewithal to have created, say, Julius Caesar.

Alternative candidates for the "real" Shakespeare have numbered the Cambridge-schooled
Christopher Marlowe (who also happens to have been killed before the greatest of Shakespeare's plays
appeared) and the philosopher-statesman Francis Bacon. But the hottest candidate for some time has
been the Earl of Oxford, himself a patron of dramatists, a courtier-poet of middling talent, and an
adventurer who was at various times banished from the court and captured by pirates. The Oxford
theory has been doing the rounds since 1920, when an English scholar, Thomas Looney (pronounced
Loaney), first brought it before the world.

None of which would matter very much were there not something repellent at the heart of the theory,
and that something is the toad, snobbery—the engine that drives the Oxfordian case against the son of
the Stratford glover John Shakespeare. John was indeed illiterate. But his son was not, as we know
incontrovertibly4 from no fewer than six surviving signatures in Shakespeare's own flowing hand, the
first from 1612, when he was giving evidence in a domestic lawsuit.

The Earl of Oxford was learned and, by reports, witty. But publicity materials for Anonymous say that
Shakespeare by comparison went to a mere "village school" and so could hardly have compared with
the cultural richness imbibed by Oxford. The hell he couldn't! Stratford was no "village," and the
"grammar school," which means elementary education in America, was in fact a cradle of serious
classical learning in Elizabethan England. By the time he was 13 or so, Shakespeare would have read

1 Inadvertently: accidentally
2 Provenance: background
3 rudimentary: basic or simple

4 incontrovertibly: certainly or undoubtedly

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 GRADE 8: MODULE 2

(in Latin) works by Terence, Plautus, Virgil, Erasmus, Cicero, and probably Plutarch and Livy too.
One of the great stories of the age was what such schooling did for boys of humble birth.
The Shakespeare Shakedown

How could Shakespeare have known all about kings and queens and courtiers? By writing for them
and playing before them over and over again—nearly a hundred performances before Elizabeth and
James, almost 20 times a year in the latter case. His plays were published in quarto from 1598 with
his name on the page. The notion that the monarchs would have been gulled into thinking he was the
true author, when in fact he wasn't, beggars belief.

The real problem is not all this idiotic misunderstanding of history and the world of the theater but a
fatal lack of imagination on the subject of the imagination. The greatness of Shakespeare is precisely
that he did not conform to social type—that he was, in the words of the critic William Hazlitt, "no one
and everyone." He didn't need to go to Italy because Rome had come to him at school and came again
in the travels of his roaming mind. His capacity for imaginative extension was socially limitless too:
reaching into the speech of tavern tarts as well as archbishops and kings. It is precisely this
quicksilver5, protean6 quality that of course stirs the craving in our flat-footed celeb culture for some
more fully fleshed-out Author.

That's what, thank heavens, the shape-shifting Shakespeare denies us. But he gives us everything and
everyone else. As Hazlitt beautifully and perfectly put it, "He was just like any other man, but that he
was like all other men. He was the least of an egotist that it was possible to be. He was nothing in
himself, but he was all that others were, or that they could become."

By Simon Schama

Full Text: COPYRIGHT 2011 Newsweek Daily Beast Company LLC. All rights reserved. Any reuse,
distribution or alteration without express written permission of the publisher is prohibited. For permission:
www.newsweek.com.
http://www.thedailybeast.com/newsweek.html
Source Citation

5 quicksilver: changeable
6 protean: adjustable

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 GRADE 8: MODULE 2

Unit 1 Lesson 2
“The Shakespeare Shakedown”: Lesson 2 Text-Dependent Questions

Name:

Date:

Approaching the Text Notes

Who is the author?

What is the title?

What type of text is it?

Who is the audience?

Read the text silently in your head as you hear it read aloud.

Text-Dependent Questions Notes

1. What does the word anonymous

mean?

2. In James Shapiro’s book

Contested Will, what evidence or
reasons does he attribute to those
who want to deprive
“Shakespeare of authentic
authorship of his works”?

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 GRADE 8: MODULE 2

Unit 1 Lesson 2
“The Shakespeare Shakedown”: Lesson 2 Text-Dependent Questions
Text-Dependent Questions Notes

3. Look at Paragraph B.
• What credentials does the
Earl of Oxford have for being
the “real Shakespeare”?
• What does the term “patron
of dramatists” mean?
• What does the term
“courtier-poet of middling
talent” mean?

4. Look at Paragraph C.
What is the first supporting claim
or reason Schama gives to
support the central claim about
the authenticity of Shakespeare’s
authorship?

5. Look at Paragraph D.
What is the second supporting
claim or reason Schama gives to
support the authenticity of
Shakespeare’s authorship?

6. Look at Paragraph E.
What is the last supporting detail
or reason Schama gives to
support the authenticity of
Shakespeare’s authorship?

7. Look at Paragraph F.
According to Schama, why do
some question the authenticity of
Shakespeare’s authorship?

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 GRADE 8: MODULE 2

Unit 1 Lesson 3
Discussion Appointments

Make one appointment at each location.

In Albany: ________________________________________________________

In Buffalo: _______________________________________________________

In New York City: __________________________________________________

In Rochester: _____________________________________________________

In Syracuse: ______________________________________________________

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 GRADE 8: MODULE 2
Name:

Date:

Unit 1 Lesson 3
“The Shakespeare Shakedown”: Lesson 3 Text-Dependent Questions

Chalk Talk Questions Notes

1. What is Simon Schama

thinking and saying about
who wrote the works
attributed to Shakespeare?

2. Who is the intended

audience of the speech?

Additional Text Dependent Questions

3. Reread the article.

Where does Schama

acknowledge other
viewpoints?

4. How does Schama respond

to these counterclaims or
other viewpoints?

5. Why does Schama identify

counterclaims?

6. What is the author’s

purpose in this article?

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 GRADE 8: MODULE 2

Name: Unit 1 Lesson 3

Lesson 3 Homework: Vocabulary in “The
Date: Shakespeare Shakedown”

Directions: In the chart below, write the words you circled in “The Shakespeare Shakedown.” Do
your best to infer the meaning of the word from the context and write it in the right hand column.

Word Paragraph Inferred Meaning

Letter

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 GRADE 8: MODULE 2

Unit 1 Lesson 4
Evaluating Evidence Note-catcher

Name:

Date:

Supporting Claim What piece of evidence Why is that the best

does Schama use to best evidence?
back up that supporting
claim?

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 GRADE 8: MODULE 2

Name:
Unit 1 Lesson 4
Summary Writing Graphic Organizer
Date:

When you are reading actively, one of the most important things you do is figure out the point of the
text. This means you are recognizing its controlling idea. In this case, the controlling idea is the
author’s central claim that he uses to build his whole argument.

Once you have done that, you have really done the hardest work.

Still, there is more. You need to figure out which are the key details in the text (hint: think about the
author’s claims).

Finally, write a great closing sentence, a clincher.

Once that is done, you are ready to write up the notes into a summary paragraph. At that point,
you will have gotten a good, basic understanding of the text you are reading.

Controlling Idea

Key Key Key

detail detail detail

Clincher

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 GRADE 8: MODULE 2

Unit 1 Lesson 5
“The Shakespeare Shakedown”: Analyzing Text Structure Note-catcher (Side 1)

Name:

Date:

Questions Notes

Reread Paragraph F and

answer these questions:
1. Read the paragraph aloud
with your partner. Try
paraphrasing the first
sentence. What job is this
sentence doing in the
paragraph?

2. How is the second sentence

related to this topic
sentence? What job is it
doing in the paragraph?

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 GRADE 8: MODULE 2

Unit 1 Lesson 5
“The Shakespeare Shakedown”: Analyzing Text Structure Note-catcher (Side 1)

Questions Notes

3. In the next three sentences,

Schama gives some more
details related to the last
sentence. What job are these
three sentences doing in the
paragraph?

4. With your partner,

paraphrase the last sentence.
How does this sentence
relate to the first sentence of
the paragraph? Why do you
think the author ends the
paragraph this way?

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 GRADE 8: MODULE 2

Unit 1 Lesson 5
“The Shakespeare Shakedown”: Analyzing Text Structure Note-catcher (Side 2)

Questions Notes

Reread Paragraph E and answer

these questions:
1. Read the paragraph aloud with
your partner. Try paraphrasing
the first sentence. What job is
this sentence doing in the
paragraph?

2. How is the second sentence

related to this topic sentence?
What job is it doing in the
paragraph?

3. In the next sentence, why

might it be important that
Shakespeare’s plays were
published in 1598 and his name
was on the publication? What
job is this sentence doing in the
paragraph?

4. With your partner, paraphrase

the last sentence. How does
this sentence relate to the first
sentence of the paragraph?
Why do you think the author
ends the paragraph this wa

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 GRADE 8: MODULE 2

Unit 1 Lesson 6
QuickWrite 2

Name:

Date:

You have learned a lot about the arguments for both sides of the question regarding the authorship of
Shakespeare. Based on what you have read, which argument do you find most credible? Why?

Use specific evidence from the text to write a paragraph that answers this prompt.

• Answer the prompt completely.

• Provide relevant and complete evidence.
• Your paragraph should include:
– A focus statement stating which argument you believe is the most credible
– At least three pieces of evidence from the text
– For each piece of evidence, an analysis or explanation: What does this evidence mean?
– A concluding sentence

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 GRADE 8: MODULE 2

Name: Unit 1 Lesson 7

Shakespeare's Universal Appeal Examined
Date:

Tuesday, Apr 24, 2012, 10:30 IST | Agency: Daily Telegraph

Jonathan Bate

Britain's greatest playwright has been embraced by every age and every nation. On the anniversary of the
Bard's birth and death, Jonathan Bate explains why the world has claimed him for its own.

"After God," said the 19th-century novelist Alexandre Dumas, "Shakespeare has created most." No other body
of writing in the history of world literature has been peopled with characters and situations of such variety,
such breadth and depth. No other writer has exercised such a universal appeal.

My first date with my future wife was a production of Richard III in Romanian. We didn't understand a word of
the dialogue, but the atmosphere in the little theatre in Manchester was electric. I have seen a mesmerising
Titus Andronicus in Japanese and another that came straight from the townships of post-apartheid South
Africa. One of the most influential modern books on the plays, entitled Shakespeare Our Contemporary, was
by a Polish Communist. During the Iran-Iraq war, a general spurred his tanks into battle by quoting
from Henry V. Half the schoolchildren in the world are at some point exposed to Shakespeare's work.

But what is the source of the universal appeal of this balding middle-class gentleman, born in a little
Warwickshire market town in the reign of the first Queen Elizabeth? Why would the world's newest country,
South Sudan, choose to put on a production of Cymbeline? Or Sunnis and Shias opt to relocate the story
of Romeo and Juliet in Baghdad? What is it about Richard III that appeals to Brazilians, or Othello to the
Greeks?

When his collected plays were published a few years after his death in the weighty book known as the First
Folio, his friend and rival Ben Jonson wrote a prefatory poem claiming that Shakespeare was as great a
dramatist as the classicists of ancient Greece and Rome, and that one day "all scenes of Europe" would pay
homage to him. This proved prophetic: Shakespeare did indeed exercise a decisive influence on the cultural
and political history of Europe in the 18th and 19th centuries, shaping key aspects of the Romantic movement,
the Revolutionary consciousness, the rise of nationalism and the nation state, of the novel, the idea of romantic
love, the notion of the existential self, and much more. In the 20th century, thanks to translation and film, that
influence spread around the world.

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 GRADE 8: MODULE 2

Unit 1 Lesson 7
Shakespeare's Universal Appeal Examined
Jonson's poem described Shakespeare in two contradictory ways, and in that contradiction is to be found the key to his
universality. He was, says Jonson, the "Soul of the Age," yet he was also "not of an age, but for all time." Shakespeare
recognised that human affairs always embody a combination of permanent truths and historical contingencies (in his own
terms, "nature" and "custom"). He was "not of an age" because he worked with archetypal characters, core plots and
perennial conflicts, dramatising the competing demands of the living and the dead, the old and the young, men and
women, self and society, integrity and role-play, insiders and outsiders. He grasped the structural conflicts shared by all
societies: religious against secular, country against city, birth against education, strong leadership against the people's
voice, the code of masculine honour against the energies of erotic desire.

Yet he also addressed the conflicts of his own historical moment: the transition from Catholicism to Protestantism and
feudalism to modernity, the origins of global consciousness, the conflict between new ideas and old superstitions, the
formation of national identity, the growth of trade and immigration, the encounter with a "brave new world" overseas, the
politics of war, new attitudes to blacks and Muslims, new voices for women and children.

Shakespeare endures because with each new turn of history, a new dimension of his work opens up before us. When King
George III went mad, King Lear was kept off the stage—it was just too close to the truth. During the Cold War, Lear again
became Shakespeare's hottest play, its combination of starkness and absurdity answering to the mood of the age, leading
the Polish critic Jan Kott to compare it to Samuel Beckett's Endgame and inspiring both the Russian Grigori Kozintsev
and the Englishman Peter Brook to make darkly brilliant film versions.

Because Shakespeare was supremely attuned to his own historical moment, but never wholly constrained within it, his
works lived on after his death through something similar to the Darwinian principle of adaptation. The key to Darwin's
theory of evolution is the survival of the fittest. Species survive according to their capacity to adapt, to evolve according to
environmental circumstances. As with natural selection, the quality that makes a really successful, enduring cultural
artifact is its capacity to change in response to new circumstances. Shakespeare's plays, because they are so various and so
open to interpretation, so lacking in dogma, have achieved this trick more fully than any other work of the human
imagination.

Shakespeare's life did not cease with the "necessary end" of his death 398 years ago on April 23, 1616.
His plays continue to live, and to give life, four centuries on, all the way across the great theatre of the world.
© Telegraph Media Group Limited 2012

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 GRADE 8: MODULE 2

Unit 1 Lesson 7
Frayer Model: Control

Name:

Date:

Definition Characteristics/Explanation

Examples Control Non-Examples

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 GRADE 8: MODULE 2

Unit 1 Lesson 7
Guiding Questions

• “Why do Shakespeare’s works hold a universal appeal?”

• “What motivates people to try to control each other’s actions?”
• “Is it possible to control another person’s actions in the long run?”

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 GRADE 8: MODULE 2

Name:

Date:

Unit 1 Lesson 7
QuickWrite 3

Directions: Based on your knowledge of the universal appeal of Shakespeare, what might make the
theme of control appealing or interesting to people of different ages, genders, ethnicities, etc.?

Use specific evidence from the text to write a paragraph that answers this prompt.
• Answer the prompt completely
• Provide relevant and complete details
• Your paragraph should include:
– A focus statement stating your thinking
– At least three reasons to support your thinking
– For each piece of evidence, an analysis or explanation: What does this evidence mean?
– A concluding sentence

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

Name:

Date:

Enter Quince the carpenter, and Snug the joiner, and Bottom the weaver, and Flute the bellows-
mender, and Snout the tinker, and Starveling the tailor.

QUINCE: Is all our company here?

BOTTOM: You were best to call them generally, man by man, according to the scrip.

QUINCE: Here is the scroll of every man’s name which is thought fit, through all Athens, to play in
our interlude before the Duke and Duchess on his wedding day at night.

BOTTOM: First, good Peter Quince, say what the play treats on, then read the names of the actors,
and so grow to a point.

QUINCE: Marry, our play is “The most lamentable comedy and most cruel death of Pyramus and
Thisbe.”

BOTTOM: A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth
your actors by the scroll. Masters, spread yourselves.

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

QUINCE: Answer as I call you. Nick Bottom, the weaver.

BOTTOM: Ready. Name what part I am for, and proceed.

QUINCE: You, Nick Bottom, are set down for Pyramus.

BOTTOM: What is Pyramus—a lover or a tyrant?

QUINCE: A lover that kills himself most gallant for love.

BOTTOM: That will ask some tears in the true performing of it. If I do it, let the audience look to their
eyes. I will move storms; I will condole in some measure. To the rest.—Yet my chief humor is for a
tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split:

The raging rocks

And shivering shocks
Shall break the locks
Of prison gates.
And Phibbus’ car
Shall shine from far
And make and mar
The foolish Fates.

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

This was lofty. Now name the rest of the players. This is Ercles’ vein, a tyrant’s vein. A lover is more
condoling.

QUINCE: Francis Flute, the bellows-mender.

FLUTE: Here, Peter Quince.

QUINCE: Flute, you must take Thisbe on you.

FLUTE: What is Thisbe—a wand’ring knight?

QUINCE: It is the lady that Pyramus must love.

FLUTE: Nay, faith, let me not play a woman. I have a beard coming.

QUINCE: That’s all one. You shall play it in a mask, and you may speak as small as you will.

BOTTOM: An I may hide my face, let me play Thisbe too. I’ll speak in a monstrous little voice:
“Thisne, Thisne!”—“Ah Pyramus, my lover dear! Thy Thisbe dear and lady dear!”

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

QUINCE: No, no, you must play Pyramus—and, Flute, you Thisbe.

BOTTOM: Well, proceed.

QUINCE: Robin Starveling, the tailor.

STARVELING: Here, Peter Quince.

QUINCE: Robin Starveling, you must play Thisbe’s mother.—Tom Snout, the tinker.

SNOUT: Here, Peter Quince.

QUINCE: You, Pyramus’ father.—Myself, Thisbe’s father.—Snug the joiner, you the lion’s part.—And I
hope here is a play fitted.

SNUG: Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.

QUINCE: You may do it extempore, for it is nothing but roaring.

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

BOTTOM: Let me play the lion too. I will roar that I will do any man’s heart good to hear me. I will
roar that I will make the Duke say “Let him roar again. Let him roar again!”

QUINCE: An you should do it too terribly, you would fright the Duchess and the ladies that they
would shriek, and that were enough to hang us all.

ALL: That would hang us, every mother’s son.

BOTTOM: I grant you, friends, if you should fright the ladies out of their wits, they would have no
more discretion but to hang us. But I will aggravate my voice so that I will roar you as gently as any
sucking dove. I will roar you an ’twere any nightingale.

QUINCE: You can play no part but Pyramus, for Pyramus is a sweet-faced man, a proper man, as one
shall see in a summer’s day, a most lovely gentlemanlike man. Therefore you must needs play
Pyramus.

BOTTOM: Well, I will undertake it. What beard were I best to play it in?

QUINCE: Why, what you will.

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 GRADE 8: MODULE 2

Unit 1 Lesson 8
A Midsummer Night’s Dream
Act 1, Scene 2

BOTTOM: I will discharge it in either your straw-color beard, your orange-tawny beard, your purple-
in-grain beard, or your French-crown-color beard, your perfit yellow.

QUINCE: Some of your French crowns have no hair at all, and then you will play barefaced. But,
masters, here are your parts, and I am to entreat you, request you, and desire you, to con them by
tomorrow night and meet me in the palace wood, a mile without the town, by moonlight. There will
we rehearse, for if we meet in the city, we shall be dogged with company and our devices known. In
the meantime I will draw a bill of properties such as our play wants. I pray you fail me not.

BOTTOM: We will meet, and there we may rehearse most obscenely and courageously. Take pains. Be
perfit. Adieu.

QUINCE: At the Duke’s Oak we meet.

BOTTOM: Enough. Hold, or cut bowstrings.

They exit.

Shakespeare, William, Barbara A. Mowat, and Paul Werstine. A Midsummer Night's Dream. New York: Washington Square, 2004. Print.

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 GRADE 8: MODULE 2

Unit 1 Lesson 9
A Midsummer Night’s Dream, Act 1, Scene 1 Written Conversation Note-catcher

Name:

Date:

1. In Line 43 (page 9), Egeus says that he should be allowed to “dispose of” Hermia. Why did
Shakespeare choose to have Egeus use the phrase “dispose of” here, instead of the word “kill”?

My Partner My Partner
I Say I Build
Responds Concludes

Notes from class discussion:

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 GRADE 8: MODULE 2

Unit 1 Lesson 9
A Midsummer Night’s Dream, Act 1, Scene 1 Written Conversation Note-catcher

2. In Line 83 (page 13), Hermia refers to marrying Demetrius as an “unwished yoke.” Why did
Shakespeare choose to have Hermia use the word “yoke” instead of the word “marriage”?

My Partner My Partner
I Say I Build
Responds Concludes

Notes from class discussion:

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 GRADE 8: MODULE 2

Unit 1 Lesson 9
Tips for Reading Shakespeare

Name:

Date:

Reading Shakespeare isn’t easy, but you have proved in the last two lessons that you can do it.
Remember these tips while you read on your own:

• Read for gist, then reread (and maybe reread again!).

• Use the Play Map to remind yourself who the characters are and how they relate to each other.
• Consider reading aloud (maybe with another person) to get the feel of the language. Shakespeare
wrote plays—that means these words were supposed to be said out loud.
• Ask yourself:
o Who is speaking?
o Who is he or she speaking to?
o Why are these people talking to each other?
o How do these people feel? What is their mood?
§ Happy?
§ Sad?
§ Worried?
§ Angry?
§ Excited?
§ Confused?
• When you come across a difficult word or passage:
o Ask yourself if you can get the gist of it based on context clues.
o Check the left-hand page to see if the word is defined.
o Look up the word in the dictionary.
• Remember that this play is a comedy! Have fun with it.

Unit 1 Lesson 9

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 GRADE 8: MODULE 2

A Midsummer Night’s Dream Structured Notes, 1.1.21–129

Name:

Date:

What is the gist of 1.1.21–129?

Focus Question: In what ways do Demetrius and Egeus attempt to control Hermia? Be sure to cite
specific evidence from the text to support your answer.

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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
Name:
Date:
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character character
try to Evidence Evidence Evidence
control? from Explanation from Explanation from Explanation
AMND AMND AMND
Egeus
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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character characte
r try to Evidenc Evidence Evidenc
control? e from Explanation from Explanation e from Explanation
AMND AMND AMND
Hermia
Lysander
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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character character
try to Evidence Evidence Evidence
control? from Explanation from Explanation from Explanation
AMND AMND AMND
Helena
Demetrius
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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character character
try to Evidence Evidence Evidence
control? from Explanation from Explanation from Explanation
AMND AMND AMND
Robin/Puck
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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character character
try to Evidence Evidence Evidence
control? from Explanation from Explanation from Explanation
AMND AMND AMND
Bottom
Oberon
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 GRADE 8: MODULE 2
Unit 1 Lesson 10
Evidence of Control Note-catcher
What are the results of this
Whom Why does this character want How does this character try to
character’s attempts to
does this to control that person? control that person?
control another person?
Character character
try to Evidence Evidence Evidence
control? from Explanation from Explanation from Explanation
AMND AMND AMND
Titania
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 GRADE 8: MODULE 2

Unit 1 Lesson 11
A Midsummer Night’s Dream Structured Notes, (1.2.1–107)

What is the gist of 1.2.1–107?

Focus Question: Who controls this scene? How do you know? Be sure to cite specific
evidence from the text to support your answer.

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 GRADE 8: MODULE 2

Unit 1 Lesson 11

A Midsummer Night’s Dream Structured Notes, (1.2.1–107)

Vocabulary

Context clues: How did you

Word Definition
figure out this word?

lamentable comedy (1.2.11–12)

tyrant (1.2.21)

gallant (1.2.22)

monstrous little (1.2.50)

entreat (1.2.96)

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 GRADE 8: MODULE 2
Name:
Unit 1 Lesson 11
Text to Film Comparison Note-catcher
Date:
Scene What is the same? What is different? Evaluation: Do the choices of
How does the film version stay How does the film version the director or actor(s)
faithful to the play? depart from the play? effectively convey the central
message of the text? Why or
why not?
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 GRADE 8: MODULE 2

Unit 1 Lesson 12
A Midsummer Night’s Dream Structured Notes, 2.1.33–60, 153–194
Name:

Date:

What is the gist of 2.1.33–60?

Summary, 2.1.61–152: Oberon and Titania argue about their jealousies. Titania is jealous of
Oberon’s love for Hippolyta, whom he followed to this land from India. Oberon is jealous of
Titania’s love for Theseus, whom she forced to abandon multiple girlfriends before he met
Hippolyta. Titania reminds Oberon that their constant arguing has consequences for mortal
humans; their fighting has made the weather terrible for growing crops and enjoying nature.
Oberon suggests that Titania put an end to the fighting by offering him the Indian boy. She refuses,
saying that she was very close with his mother in India before she died giving birth to him. She
insists that she will raise him herself. Both angry, Oberon and Titania agree to stay out of each
other’s way until after the wedding, when Titania will return to India with the boy.

What is the gist of 2.1.153-194?

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 GRADE 8: MODULE 2

Unit 1 Lesson 12
A Midsummer Night’s Dream Structured Notes, 2.1.33–60, 153–194

Focus Question: How do both Robin and Oberon express a desire to control others? Be
sure to cite the strongest evidence from the text to support your answer.

Vocabulary
Context clues: How did you
Word Definition
figure out this word?

jest (2.1.46)

lurk (2.1.49)

civil (2.1.157)

madly (2.1.177)

pursue (2.1.189)

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 GRADE 8: MODULE 2
Unit 1 Lesson 13
Three Threes in a Row Note-catcher
Why has Demetrius come to the forest? In 2.1.221–226 and 234–235, how does In 2.1.210–217, Helena compares herself to
Demetrius attempt to control Helena? a “spaniel,” or a kind of dog. Reread those
lines. What does this comparison say about
her relationship with Demetrius?
When Puck arrives, what is Oberon’s first In 2.1.268–275, Oberon tells of a plan to In 2.1.268–269, Oberon refers to an
question? Why is he so eager? control another character. Who will he “Athenian lady” who is in love with a
attempt to control? Why does he wish to “disdainful youth.” Explain what this
control this person? means, with special attention to the phrase
“disdainful youth.”
What will happen to Titania when she In 2.2.47–50, Hermia and Lysander have a In 2.2.83, Puck describes Lysander as a
awakens after Oberon anoints her with the slight disagreement. Explain what they “lack-love.” What does he mean? What
flower nectar? disagree on, and how the disagreement consequences or results will his
propels the action of the play. (Why is it misunderstanding create?
important?)
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Unit 1 Lesson 13
A Midsummer Night’s Dream Structured Notes, 2.1.195–267; 2.2.33–89

Name:

Date:

What is the gist of 2.1.195–267?

What is the gist of 2.2.33–89?

Focus Question: What motivates Oberon to try to control Demetrius? What motivates
him to try to control Titania? Be sure to cite the strongest evidence from the text to
support your answer.

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 Unit 1 Lesson 13
A Midsummer Night’s Dream Structured Notes, 2.1.195–267; 2.2.33–89

Vocabulary

Context clues: How did you

Word Definition
figure out this word?

fawn (2.1.211)

valor (2.1.241)

woo (2.1.249)

vile (2.2.40)

virtuous (2.2.65)

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 GRADE 8: MODULE 2
Unit 1 Lesson 14
Midsummer Night’s Dream 2.2.90–163 Note-catcher
Round 1: Analyze the poetic language or verse in A Round 2: Analyze how characters’ words and actions reveal
Midsummer Night’s Dream. aspects of their character.
What does Helena mean in lines 94–95 when she talks about When Lysander tells Helena he loves her, she says, “Wherefore was I
being “out of breath” in her “chase”? to this keen mockery born?/When at your hands did I deserve this
scorn?” (130–131) What does she mean, and what does this say about
her as a character?
What does Lysander mean in line 121 when he tries to convince
Helena of his love for her?
Round 3: Analyze the themes of control in A Reflection and synthesis:
Midsummer Night’s Dream. Describe how the characters’ attempts to control one another so far in
the play have either succeeded or failed. Hint: Think about Egeus’,
What are the results of Oberon’s attempt to control Demetrius? Demetrius’, Helena’s, and Oberon’s attempts to control others.
Cite the best evidence to support your answer.
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 GRADE 8: MODULE 2

Unit 1 Lesson 14
A Midsummer Night’s Dream Structured Notes, 2.2.90–163

Name:

Date:

What is the gist of 2.2.90–163?

Focus Question: What are the consequences of Oberon’s attempts to control others
using the “love-in-idleness” flower? Be sure to cite the strongest evidence from the text
to support your answer.

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 GRADE 8: MODULE 2

Unit 1 Lesson 14
A Midsummer Night’s Dream Structured Notes, 2.2.90–163

Vocabulary

Context clues: How did you figure out

Word Definition
this word?

perish (2.2.113)

tedious (2.2.119)

mockery (2.2.130)

scorn (2.2.131)

disdainful (2.2.137)

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 GRADE 8: MODULE 2

Unit 1 Lesson 15
Author’s Craft: Poetry and Prose in A Midsummer Night’s Dream

Name:

Date:

Characters who speak in prose: Characters who speak in verse:

In this play, verse and prose have different effects. Place a “V” on the line below to represent verse,
and a “P” to represent prose:

less rhythmic more rhythmic

less formal more formal

less musical more musical

sounds less educated sounds more educated

What message(s) did Shakespeare want to convey about his characters by writing some of their
lines as verse and others as prose?

Unit 1 Lesson 16

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 GRADE 8: MODULE 2

Text to Film Comparison Note-catcher

Name:

Date:

Scene What is the same? What is different? Evaluation: Do the

How does the film version How does the film version choices of the director or
stay faithful to the play? depart from the play? actor(s) effectively convey
the central message of the
text? Why or why not?

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 GRADE 8: MODULE 2

Unit 1 Lesson 16
A Midsummer Night’s Dream Structured Notes, 3.1.76–208

Name:

Date:

What is the gist of 3.1.76–208?

Focus Question: In what ways does Shakespeare advance the comedy of this scene
through his language and the characters’ actions? Be sure to cite the strongest evidence
from the text to support your answer.

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 GRADE 8: MODULE 2

Unit 1 Lesson 16
A Midsummer Night’s Dream Structured Notes, 3.1.76–208

Vocabulary

Context clues: How did you figure out

Word Definition
this word?

odious (3.1.81)

knavery (3.1.114)

enamored (3.1.140)

attend (3.1.159)

lamenting (3.1.207)

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 GRADE 8: MODULE 2
Unit 1 Lesson 17
Consequences
Causes and Consequences Flow Chart Flow Chart
A Midsummer Night’s Dream
Group 1: The Nobles
1.1.42-46
Egeus asks
Theseus’
permission to kill
Hermia for her
refusal to marry
Demetrius.
Group 2: The Tradesmen
2.1.97-99
Peter Quince Tells
the men to meet in
the forest to
rehearse Pyramus
and Thisbe
Group 3: The Forest Beings
2.2.33-34
Oberon casts a
spell on Titania so
he can steal the
Indian boy from her
to be his servant.
2.1.269-272
Oberon takes pity
on Helena and
tells Puck to use
the flower on
Demetrius to make
him love her.
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 GRADE 8: MODULE 2

Unit 1 Lesson 17
A Midsummer Night’s Dream Structured Notes, 3.2.90–123

Name:

Date:

What is the gist of 3.2.90–123?

Focus Question: How does Oberon’s desire to control others propel the action of the
play?

Unit 2 Lesson 1
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 GRADE 8: MODULE 2

Written Conversation Note-catcher

What does the dialogue in 3.2.124–365 reveal about the characters? Each partner should choose a
piece of dialogue that struck him/her and say what it says about the character(s).
I Say My Partner I Build My Partner
Responds Concludes

Unit 2 Lesson 2
Three Threes in a Row Note-catcher:
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 GRADE 8: MODULE 2

Act 3, Scene 2, Lines 366–493

How does Puck explain his In 3.2.373–374, Puck explains In line 393, Oberon expresses his
mistake to Oberon? that he is “glad” he used the desire for “peace.” What does this
potion on Demetrius instead of mean, and how does it relate to his
Lysander. Why? desire to control others?

In lines 375–389, Oberon How does the structure of How does Puck attempt to control
describes his plan to make Shakespeare’s verse change in Lysander and Demetrius in lines
things right. What are the lines 418–421? How does the 423–459?
steps he intends to take? structure contribute to the
meaning of these lines?

In lines 464–465, Helena In lines 490–492, what do Briefly compare and contrast the
states, “And sleep that Puck’s last lines mean? How do ways in which Oberon and Puck
sometimes shuts up these lines compare to attempt to control others in this
sorrow’s eye,/Steal me a Oberon’s desire for “peace”? scene.
while from mine own
company.” What do these
lines mean?

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 GRADE 8: MODULE 2

Unit 2 Lesson 2
A Midsummer Night’s Dream Structured Notes, 3.2. 366–493

Vocabulary

Context clues: How did you

Word Definition
figure out this word?

negligence (3.2.366)

haste (3.2.399)

consort (3.2.409)

lighter-heeled (3.2.442)

constrain (3.2.457)

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 GRADE 8: MODULE 2
Unit 2 Lesson 3
A Midsummer Night’s Dream
Note-catcher 4.1.1–87 and 4.1.131–193
Round 1: Analyze the poetic language or verse in A Round 2: Analyze how characters’ words reveal aspects of their
Midsummer Night’s Dream. character.
What is the gist of Oberon’s speech in lines 47–71? What do lines 186–188 mean, and what do they reveal about Theseus’
character?
Round 3: Analyze the themes of control in A Midsummer Reflection and synthesis: Describe the resolutions revealed in this part of the
Night’s Dream. scene. Why do you think Shakespeare decided to resolve the characters’ troubles all in a
single scene?
How does Bottom control others in this part of the scene?
What does this reveal about his character?
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 GRADE 8: MODULE 2

Unit 2 Lesson 3
A Midsummer Night’s Dream
Structured Notes, 4.1.1–87 and 4.1.131–193

Name:

Date:

What is the gist of lines 4.1.1–87 and 4.1.131–193?

Focus question: How are dreams used in the resolution of the events in the play?

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 GRADE 8: MODULE 2

Unit 2 Lesson 3
A Midsummer Night’s Dream
Structured Notes, 4.1.1–87 and 4.1.131–193

Vocabulary

Context clues: How did you

Word Definition
figure out this word?

monsieur (4.1.8)

fret (4.1.13)

hoard (4.1.37)

upbraid (4.1.51)

loathe (4.1.81)

concord (4.1.149)

enmity (4.1.151)

peril (4.1.159)

stealth (4.1.167)

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 GRADE 8: MODULE 2

Unit 2 Lesson 4
“Pyramus and Thisbe” by Thomas Bulfinch

Pyramus was the handsomest youth, and Thisbe the fairest maiden, in all Babylonia, where
Semiramis reigned. Their parents occupied adjoining houses; and neighbourhood brought the young
people together, and acquaintance ripened into love. They would gladly have married, but their
parents forbade. One thing, however, they could not forbid—that love should glow with equal ardour
in the bosoms of both. They conversed by signs and glances, and the fire burned more intensely for
being covered up. In the wall that parted the two houses there was a crack, caused by some fault in the
structure. No one had remarked it before, but the lovers discovered it. What will not love discover! It
afforded a passage to the voice; and tender messages used to pass backward and forward through the
gap. As they stood, Pyramus on this side, Thisbe on that, their breaths would mingle. “Cruel wall,”
they said, “why do you keep two lovers apart? But we will not be ungrateful. We owe you, we confess,
the privilege of transmitting loving words to willing, ears.” Such words they uttered on different sides
of the wall; and when night came and they must say farewell, they pressed their lips upon the wall, she
on her side, he on his, as they could come no nearer.

Next morning, when Aurora had put out the stars, and the sun had melted the frost from the grass,
they met at the accustomed spot. Then, after lamenting their hard fate, they agreed that next night,
when all was still, they would slip away from the watchful eyes, leave their dwellings and walk out into
the fields; and to insure a meeting, repair to a well-known edifice standing without the city’s bounds,
called the Tomb of Ninus, and that the one who came first should await the other at the foot of a
certain tree. It was a white mulberry tree, and stood near a cool spring. All was agreed on, and they
waited impatiently for the sun to go down beneath the waters and night to rise up from them. Then
cautiously Thisbe stole forth, unobserved by the family, her head covered with a veil, made her way to
the monument and sat down under the tree. As she sat alone in the dim light of the evening she
descried a lioness, her jaws reeking with recent slaughter, approaching the fountain to slake her thirst.
Thisbe fled at the sight, and sought refuge in the hollow of a rock. As she fled she dropped her veil.
The lioness after drinking at the spring turned to retreat to the woods, and seeing the veil on the
ground, tossed and rent it with her bloody mouth.

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 GRADE 8: MODULE 2

Unit 2 Lesson 4
“Pyramus and Thisbe” by Thomas Bulfinch

Pyramus, having been delayed, now approached the place of meeting. He saw in the sand the
footsteps of the lion, and the colour fled from his cheeks at the sight. Presently he found the veil all
rent and bloody. “O hapless girl,” said he, “I have been the cause of thy death! Thou, more worthy of
life than I, hast fallen the first victim. I will follow. I am the guilty cause, in tempting thee forth to a
place of such peril, and not being myself on the spot to guard thee. Come forth, ye lions, from the
rocks, and tear this guilty body with your teeth.” He took up the veil, carried it with him to the
appointed tree, and covered it with kisses and with tears. “My blood also shall stain your texture,” said
he, and drawing his sword plunged it into his heart. The blood spurted from the wound, and tinged
the white mulberries of the tree all red; and sinking into the earth reached the roots, so that the red
colour mounted through the trunk to the fruit.

By this time Thisbe, still trembling with fear, yet wishing not to disappoint her lover, stepped
cautiously forth, looking anxiously for the youth, eager to tell him the danger she had escaped. When
she came to the spot and saw the changed colour of the mulberries she doubted whether it was the
same place. While she hesitated she saw the form of one struggling in the agonies of death. She
started back, a shudder ran through her frame as a ripple on the face of the still water when a sudden
breeze sweeps over it. But as soon as she recognized her lover, she screamed and beat her breast,
embracing the lifeless body, pouring tears into its wounds, and imprinting kisses on the cold lips. “O
Pyramus,” she cried, “what has done this? Answer me, Pyramus; it is your own Thisbe that speaks.
Hear me, dearest, and lift that drooping head!” At the name of Thisbe Pyramus opened his eyes, then
closed them again. She saw her veil stained blood and the scabbard empty of its sword. “Thy own
hand has slain thee, and for my sake,” she said. “I too can be brave for once, and my love is as strong
as thine. I will follow thee in death, for I have been the cause; and death which alone could part us
shall not prevent my joining thee. And ye, unhappy parents of us both, deny us not our united request.
As love and death have joined us, let one tomb contain us. And thou, tree, retain the marks of
slaughter. Let thy berries still serve for memorials of our blood.” So saying she plunged the sword into
her breast. Her parents ratified her wish, the gods also ratified it. The two bodies were buried in one
sepulchre, and the tree ever after brought forth purple berries, as it does to this day.

Thomas Bullfinch
public domain

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 GRADE 8: MODULE 2

Unit 2 Lesson 4
Word Choice, Tone, and Meaning:
“Pyramus and Thisbe” Note-catcher
Name:

Date:

Directions:
1. Reread the text.
2. Read the quote in the first column.
3. What does it mean? Discuss the meaning. Record it in the middle column.
4. Look at the words that have been used. Choose one word to describe the tone.
Quotation Meaning? Tone?

“… and acquaintance ripened Their friendship grew into Sweet.

into love.” sweet love.

“… that love should glow with

equal ardour …”

“… and the fire burned more

intensely for being covered
up.”

“It afforded a passage to the

voice; and tender messages
used to pass backward and
forward through the gap.”

“… she descried a lioness, her

jaws reeking with recent
slaughter …”

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 GRADE 8: MODULE 2

Unit 2 Lesson 4
“Pyramus and Thisbe” Structured Notes

Name:

Date:

Focus question: How is the Greek myth “Pyramus and Thisbe” related to the story of
the young lovers in A Midsummer Night’s Dream?

Vocabulary
Context clues: How did you figure
Word Definition
out this word?

Forbade

Uttered

Dwellings

Descried

Slake

Ratified

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 GRADE 8: MODULE 2

Unit 2 Lesson 5
Venn Diagram: Comparing and Contrasting Two Plays

Name:

Date:

Within the play of A Midsummer Night’s Dream, there is another play, the story “Pyramus and
Thisbe.” Use this Venn diagram to compare and contrast the two plays.

What is similar about the two plays?

What is unique about A Midsummer Night’s Dream compared to the play “Pyramus and Thisbe”?
What is unique about the play “Pyramus and Thisbe” compared to A Midsummer Night’s Dream?

“Pyramus and Thisbe” A Midsummer Night’s Dream

Unit 2 Lesson 5

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 GRADE 8: MODULE 2

Midsummer Night’s Dream Structured Notes, 5.1.114–379

Name:

Date:

What is the gist of lines 5.1.114–379?

Focus question: What does the audience of “Pyramus and Thisbe” think of the play?
How do you know?

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 GRADE 8: MODULE 2

Unit 2 Lesson 5
Midsummer Night’s Dream Structured Notes, 5.1.114–379

Vocabulary

Context clues: How did you figure

Word Definition
out this word?

chink (5.1.167)

partition
(5.1.176)

discharged
(5.1.217)

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 GRADE 8: MODULE 2

Unit 2 Lesson 6
“Pyramus and Thisbe” Narrative Structure Note-catcher

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 GRADE 8: MODULE 2

Unit 2 Lesson 6
Homework QuickWrite: The Thirst of the Lioness

Name:

Date:

Focus question: How did the thirst of the lioness propel the action in the story “Pyramus and
Thisbe”? What events did the thirst of the lioness cause? If she hadn’t been thirsty and wanted to
drink at the fountain, how might things be different?

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 GRADE 8: MODULE 2

Unit 2 Lesson 7
Homework QuickWrite: How Is the Theme of Parental Control
Similar and Different in Each Text?

Name:

Date:

Focus question: How is the theme of parental control similar and different in each text?

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 GRADE 8: MODULE 2

Unit 2 Lesson 8
Mix and Mingle Questions

Name:

Date:

After having read about Shakespeare in Unit 1 and having just finished A Midsummer Night’s Dream,
answer the following questions:

Every day of the year, someone is performing

Shakespeare—professional actors, teenagers,
church groups, prisoners. For centuries,
Shakespeare has had a universal appeal. Based
on your experience reading A Midsummer
Night’s Dream, why do you think this is so?

As you remember from Unit 1, there is some

disagreement over who wrote the plays
attributed to Shakespeare. Perhaps this
disagreement will always exist. Do you think it
matters who wrote them? Explain your
thinking.

Right now there are nearly 500 books available

on the subject of Shakespeare for kids. Based
on your reading of A Midsummer Night’s
Dream, why do you think so many people think
it’s important for young people to read
Shakespeare?

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 GRADE 8: MODULE 2

Unit 2 Lesson 8
A Midsummer Night’s Dream Structured Notes, 5.1.380–455

Name:

Date:

What is the gist of 5.1.380–455?

Focus question: How does Shakespeare use the fairies to provide the conclusion to
the play?

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 GRADE 8: MODULE 2

Unit 2 Lesson 8
A Midsummer Night’s Dream Structured Notes, 5.1.380–455

Vocabulary

Context clues: How did you

Word Definition
figure out this word?

consecrate (5.1.432)

mended (5.1.441)

slumbered (5.1.442)

reprehend (5.1.446)

make amends (5.1.451)

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 GRADE 8: MODULE 2

Unit 2 Lesson 11
A Midsummer Night’s Dream Model Essay

Model Essay Prompt:

In A Midsummer Night’s Dream, does Shakespeare make the case that it is possible to control
another person’s actions, or not? Using the characters of Puck and Helena from the play, give
evidence from the text to support your thinking. Be sure to take into account what people who
disagree might say.

Sometimes, the person who thinks he is the most in control of a situation turns out to be the biggest
fool of all. Control is a major theme in A Midsummer Night’s Dream by William Shakespeare. In the
play, each character tries to make someone else do what he or she wants. One example is Puck, a
mischievous fairy working for Oberon, the fairy king. Puck loves manipulating other people for his
own amusement. One of the people he toys with is a young woman named Helena. Helena tries to
force Demetrius, her best friend’s fiancé, to love her. Ultimately, Shakespeare makes the case that it is
not possible to control another person’s actions, because the results are unpredictable and temporary.

A Midsummer Night’s Dream shows that the results of trying to control another person’s actions are
unpredictable. After Oberon tells Puck to use a magic flower to make Demetrius fall in love with
Helena, he finds out that Puck put the juice of the flower on the wrong person: “This is thy negligence.
Still thou mistak’st,/Or else committ’st thy knaveries willfully” (3.2.366–367). Puck’s attempt to
control the young lovers results in confusion and strife, and his mistake makes Oberon mad. After
Puck mistakenly uses the flower on the wrong person, Oberon tries to fix the mistake by anointing
Demetrius as well. Both young men pursue Helena, leading her best friend, Hermia, to confront her,
asking, “How low am I, thou painted maypole? Speak!/How low am I? I am not yet so low/But that
my nails can reach unto thine eyes” (3.2.311–313). Helena always tries to force Demetrius to love her,
but she doesn’t predict that it would lead to her best friend wanting to attack her. Both Puck and
Helena find out that trying to control someone else’s actions can lead to unintended consequences.

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 GRADE 8: MODULE 2

Unit 2 Lesson 11
A Midsummer Night’s Dream Model Essay

Shakespeare also suggests that the results of trying to control someone else’s actions are temporary.
Another person Puck tries to control is the foolish Bottom. He changes Bottom’s head into that of an
ass, but is forced by Oberon to change him back: “Now, when thou wak’st, with thine own fool’s
eyes/peep” (4.1.86–87). Even though Puck succeeds in controlling Bottom and making him look
foolish, he must change Bottom back, so the results of the change were temporary. In addition,
Shakespeare sometimes lets the audience know that the result is temporary, even when the characters
do not. Helena thinks she has succeeded in making Demetrius love her, but the audience knows his
love is actually the result of Oberon’s magic flower: “Flower of this purple dye,/Hit with Cupid’s
archery,/Sink in apple of his eye./When his love he doth espy,/Let her shine as gloriously/As the
Venus of the sky” (3.2.104–109). Demetrius’s love for Helena will last only as long as he is under the
influence of the magic potion. If Oberon decides to undo the spell, Helena will realize that she has not
succeeded in changing Demetrius’s mind about her after all. Because so many of the changes in the
play are the result of the magic flower, ultimately, they are all temporary.

However, reading the play literally might make it seem like Shakespeare thinks it is possible to control
someone else’s actions. Both Puck and Helena appear to control other people’s actions in the play. In
the middle of the play, Puck brags to Oberon about how he is in control of the young lovers, saying,
“Lord, what fools these mortals be!/… And those things do best please me/That befall prepost’rously”
(3.2.117, 122–123). Puck thinks he is in control, and he enjoys the results. At the end of the play,
Theseus agrees to marry Helena and Demetrius: “For in the temple by and by, with us,/These couples
shall eternally be knit” (4.1.187–188). This marriage could prove that Helena has succeeded in making
Demetrius love her. But neither Puck nor Helena is actually in control. Oberon tells Puck what to do,
and Helena only gets to marry Demetrius because of the influence of the magic flower. Even though it
seems like Puck and Helena get what they want from other people, they are both at the mercy of other
people’s actions and choices.

Carefully reading A Midsummer Night’s Dream reveals that Shakespeare did not think it was possible
to truly control another person’s actions. Through the comic actions of his characters, he shows us
that the consequences of trying to control others are unpredictable and often chaotic. Also, most of
the changes in the play come as the result of using magic, which doesn’t lead to lasting change.
Ultimately, A Midsummer Night’s Dream shows us that trying to control other people’s actions rarely
works out the way you plan … unless, that is, you have a magic flower.

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 GRADE 8: MODULE 2

Unit 2 Lesson 11
Supporting Evidence-Based Claims Graphic Organizer

Claim:

Body Paragraph 1

Reason 1

Evidence 1 Evidence 2

How does this evidence support this reason? How does this evidence support this reason?

Body Paragraph 2

Reason 2

Evidence 1 Evidence 2

How does this evidence support this reason? How does this evidence support this reason?

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 GRADE 8: MODULE 2

Unit 2 Lesson 11
Supporting Evidence-Based Claims Graphic Organizer

Body Paragraph 3

Counterclaim:

Reason for counterclaim:

Evidence 1 Evidence 2 Response to Reason for

Counterclaim

How does this evidence support How does this evidence support Why is your claim stronger
this reason? this reason? than this counterclaim?

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 GRADE 8: MODULE 2

Unit 2 Lesson 11
QuickWrite:

Based on the work we did in class today with analyzing the model essay, answer the question,
“What must I do in this essay?”

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 GRADE 8: MODULE 2

Unit 2 Lesson 12
A Midsummer Night’s Dream Argument Essay Prompt
Name:

Date:

Focus question: In A Midsummer Night’s Dream, does Shakespeare make the case that it is
possible to control another person’s actions, or not? Choose two characters from the list below and
give evidence from the text to support your thinking. Be sure to take into account what people who
disagree might say.

a. Demetrius d. Lysander
b. Egeus e. Bottom
c. Hermia f. Oberon

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 GRADE 8: MODULE 2

Unit 2 Lesson 12
Exit Ticket

What is your claim about Shakespeare making the case whether or not it is possible to control other
people’s actions? What reasons will you use to support your claim? What counterclaim will you
include in your essay?

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 GRADE 8: MODULE 2
Unit 2 Lesson 13
A Midsummer Night’s Dream Argument Rubric
Name:
Date:
Argumentative Essay: In A Midsummer Night’s Dream, does Shakespeare make the case that it is possible to control
another person’s actions, or not?
Criteria NCS 4 3 2 1 0
CLAIM AND RI.8.2, —clearly introduces —clearly introduces —introduces the text —introduces the text —claim and reasons
REASONS: W.8.1a, the text and the claim the text and the claim and the claim in a and the claim in a demonstrate a lack of
the extent to W.8.9a in a manner that is in a manner that manner that follows manner that does not comprehension of the
which the essay compelling and follows from the task generally from the task logically follow from text(s) or task
conveys complex follows logically from and purpose and purpose the task and purpose
ideas and the task and purpose
information —claim and reasons —claim and reasons —claim and reasons
clearly and —claim and reasons demonstrate grade- demonstrate a literal demonstrate little
accurately in demonstrate appropriate analysis comprehension of the understanding of the
order to logically insightful analysis of of the text(s) text(s) text(s)
support the the text(s)
author’s —acknowledges and —does not acknowledge
argument —acknowledges and —acknowledges and responds to and/or respond to
responds to responds to counterclaim(s), but the counterclaim(s)
counterclaim(s) counterclaim(s) thinking isn’t clear
skillfully and appropriately and and/or logical
smoothly clearly
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 GRADE 8: MODULE 2
Unit 2 Lesson 13
A Midsummer Night’s Dream Argument Rubric
Criteria NCS 4 3 2 1 0
COMMAND OF W.8.1b —develops the —develops the —partially develops the —demonstrates an —provides no evidence or
EVIDENCE: argument (claim and argument (claim and argument (claim and attempt to use provide evidence that is
the extent to reasons) with reasons) with reasons) of the essay evidence, but only completely irrelevant
which the essay relevant, well-chosen relevant facts, with the use of some develop ideas with
presents evidence facts, definitions, definitions, details, textual evidence, some minimal, occasional —does not explain how
from the provided concrete details, quotations, or other of which may be evidence which is evidence supports the
texts to support quotations, or other information and irrelevant generally invalid or claim and reasons
argument information and examples from the irrelevant
examples from the text(s)
text(s) —uses relevant evidence —attempts to explain
—sustains the use of inconsistently how evidence supports
—sustains the use of relevant evidence, the claim and reasons
varied, relevant with some lack of —sometimes logically
evidence variety explains how evidence
supports the claim and
—skillfully and —logically explains reasons
logically explains how how evidence
evidence supports the supports the claim
claim and reasons and reasons
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 GRADE 8: MODULE 2
Unit 2 Lesson 13
A Midsummer Night’s Dream Argument Rubric
Criteria NCS 4 3 2 1 0
COHERENCE, W.8.1c, —exhibits clear —exhibits clear —exhibits some attempt —exhibits little attempt —exhibits no evidence of
ORGANIZATION W.8.1d, organization, with organization, with at organization, with at organization, or organization
, AND STYLE: W.8.1e the skillful use of the use of inconsistent use of attempts to organize
the extent to appropriate and appropriate transitions are irrelevant to the —uses language that is
which varied transitions to transitions to create a task predominantly
the essay create a unified unified whole —establishes but fails to incoherent or copied
logically whole and enhance maintain a formal style, —lacks a formal style, directly from the text(s)
organizes meaning —establishes and with inconsistent use of using language that is
complex ideas, maintains a formal language and domain- imprecise or —does not provide a
concepts, and —establishes and style using precise specific vocabulary inappropriate for the concluding statement or
information maintains a formal language and text(s) and task section
using formal style style, using grade- domain-specific —provides a concluding
and precise appropriate, vocabulary statement or section that —provides a concluding
language stylistically follows generally the statement or section
sophisticated —provides a claim and reasons that is illogical or
language and concluding statement presented unrelated to the claim
domain-specific or section that and reasons presented
vocabulary with a follows from the
notable sense of voice claim and reasons
presented
—provides a
concluding statement
or section that is
compelling and
follows clearly from
the claim and reasons
presented
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 GRADE 8: MODULE 2
Unit 2 Lesson 13
A Midsummer Night’s Dream Argument Rubric
Criteria NCS 4 3 2 1 0
CONTROL OF W.8.2 Use of capitalization, Occasional Some capitalization, Frequent capitalization, Capitalization, spelling,
CONVENTIONS W.8.2a spelling, and capitalization, spelling, and spelling, and and punctuation errors
W.8.2b punctuation is grade- spelling, and punctuation errors may punctuation errors prevent the reader from
W.8.2c appropriate with few punctuation errors hinder comprehension. hinder comprehension. understanding the
errors. do not hinder narrative.
comprehension.
Essay skillfully Essay includes
includes punctuation Essay includes punctuation (a comma,
(a comma, ellipsis, or Essay includes punctuation (a comma, ellipsis, or dash) to Essay does not include
dash) to indicate a punctuation (a ellipsis, or dash) to indicate a pause or punctuation (a comma,
pause or break. comma, ellipsis, or indicate a pause or break, but is done ellipsis, or dash) to
dash) to indicate a break, but may not be incorrectly and indicate a pause or break.
Essay skillfully pause or break. correct. impedes
includes an ellipsis to comprehension. Essay does not include an
indicate omission. ellipsis to indicate
Essay includes an Essay includes an omission.
Essay includes an ellipsis to indicate ellipses to indicate
ellipsis to indicate omission, but may not omission, but is don
omission. be done correctly. incorrectly and
impedes
comprehension.
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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Quote Sandwich Guide

Name:

Date:

A Quote Sandwich is made up of three parts:

• Introduce the quote

• Include the quote
• Analyze the quote

Read this example of using a quote in an argument essay, then take a look at the organizer below:

In Act 2, Scene 1 we first meet Robin when he is talking to another fairy that recognizes him. Their
conversation demonstrates who Robin is and what his motivations are. He says, “Thou speakest aright. I am
that merry wanderer of the night, I jest to Oberon and make him smile …” (2.1.44–46). This shows that Robin
likes to have fun and deceive people for his entertainment and for Oberon’s entertainment.

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Quote Sandwich Guide

Introduce the quote.

This includes the “who” and “when” of the quote.
Sample sentence starters for introducing a quote:
In act/scene,_____________________________________.
When Robin is ___________________________________.
After __________________Robin____________________
_______________________________________________.

Include the quote.

Make sure to punctuate the quotes correctly using quotation marks. Remember to cite the
page number in parentheses after the quote.

Example: Their conversation demonstrates who Robin is and what his motivations are. He
says, “Thou speakest aright. I am that merry wanderer of the night, I jest to Oberon and
make him smile …” (2.1.44–46).

Analyze the quote.

This is where you explain how the quote supports your idea.
Example: This shows that Robin likes to have fun and deceive
people for his entertainment and for Oberon’s entertainment.

Sample sentence starters for quote analysis:

This means that _________________________________.
This shows that __________________________________.

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Quote Sandwich for Peer Critique

Name:

Date:

Directions: For today’s peer critique, look at your Supporting Evidence-Based Claims graphic
organizer and choose the reason in one of your body paragraphs to focus on. Then choose one piece of
evidence from that paragraph to turn into a Quote Sandwich. Make sure you introduce the quote,
include the quote, and explain how the quote supports the reason in that paragraph. Remember that
you have practiced Quote Sandwiches orally and found them in the model essay.

Reason in the body paragraph

Quote Sandwich

For the peer critique, you will share your Quote Sandwich with a partner. Ask your partner to focus on
giving you feedback on one of the four following questions:

Feedback questions
Do I use the best evidence to support the reason in my body paragraph?
Does the introduction of the quote give enough background information to understand it?
Did I punctuate and cite the quote correctly?
Does the explanation of the quote make sense?

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Peer Critique Expectations and Directions

Expectations
Be kind: Treat others with dignity and respect.
Be specific: Focus on why something is good or what, particularly, needs improvement.
Be helpful: The goal is to help everyone improve their work.
Participate: Support each other. Your feedback is valued!

Directions for Peer Critique partners

1. Review Claim and Evidence Criteria from Rows 1 and 2 of A Midsummer Night’s Dream
Argument Rubric.
2. Give your partner your Quote Sandwich and point out the feedback question you would most like
suggestions about.
3. Read over your partner’s Quote Sandwich.
4. One person shares his/her feedback using phrases like:
a. I really liked how you …
b. I wonder …
c. Maybe you could change …
5. Author writes it on his/her Peer Critique recording form.
6. Author says: “Thank you for _______________. My next step will be ____________.”
7. Switch roles and repeat.

Directions for Revising My Quote Sandwich

1. Decide where you are going to make changes based on feedback.
2. Revise your Quote Sandwich in the space provided.
3. Be sure to include changes when planning an essay and apply feedback to other Quote Sandwiches
as appropriate.

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 GRADE 8: MODULE 2
Name:
Unit 2 Lesson 13
Date: Peer Critique Recording Form (Side A)
Claim and Evidence Criteria from A Midsummer Night’s Dream Argument Rubric
4 3 2 1 0
—claim and reasons demonstrate — claim and reasons demonstrate — claim and reasons demonstrate a — claim and reasons —claim and reasons
insightful analysis of the text(s) grade-appropriate analysis of the literal comprehension of the text(s) demonstrate little demonstrate a lack
text(s) understanding of the of comprehension of
—acknowledges and responds to —acknowledges and responds to text(s) the text(s) or task
counterclaim(s) skillfully and —acknowledges and responds to counterclaim(s), but the thinking isn’t
smoothly counterclaim(s) appropriately clear —does not acknowledge
and clearly and/or respond to
counterclaim(s)
—develops the argument (claim and —develops the argument (claim —partially develops the argument —demonstrates an —provides no
reasons) with relevant, well-chosen and reasons) with relevant facts, (claim and reasons) of the essay with attempt to use evidence or provide
facts, definitions, concrete details, definitions, details, quotations, or the use of some textual evidence, evidence, but only evidence that is
quotations, or other information other information and examples some of which may be irrelevant develops ideas with completely
and examples from the text(s) from the text(s) minimal, occasional irrelevant
evidence which is
—sustains the use of varied, —sustains the use of relevant —uses relevant evidence generally invalid or —does not explain
relevant evidence evidence, with some lack of inconsistently irrelevant how evidence
variety supports the claim
—skillfully and logically explains —sometimes logically explains how —attempts to explain and reasons
how evidence supports the claim —logically explains how evidence evidence supports the claim and how evidence supports
and reasons supports the claim and reasons reasons the claim and reasons
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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Peer Critique Recording Form (Side B)

Date:

Partner:

Focus of Critique: Quote Sandwich

My partner thinks the best thing about my Quote Sandwich is …

My partner wondered about …

My partner suggested I …

My next step(s) …

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Essay Planner

Focus question: In A Midsummer Night’s Dream, does Shakespeare make the case that it is possible
to control another person’s actions, or not? Choose two characters from the list below and give
evidence from the text to support your thinking. Be sure to take into account what people who
disagree might say.

a. Demetrius d. Lysander
b. Egeus e. Bottom
c. Hermia f. Oberon

I. Introduction

A. Hook to capture the reader’s

interest and attention

B. Name the main text

C. Give brief background

information to the reader about
the play (characters, plot, etc.)

D. Claim

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Essay Planner

II. Body Paragraph 1

First reason to support your

claim

A. Topic sentence

B. Quote Sandwich 1

C. Quote Sandwich 2

E. Concluding sentence

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Essay Planner

III. Body Paragraph 2

Second reason to support your

claim

A. Topic sentence

B. Quote Sandwich 1

C. Quote Sandwich 2

D. Concluding sentence

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Essay Planner
IV. Body Paragraph 3

Counterclaim

A. Topic sentence

B. Reason to support
counterclaim

C. Quote Sandwich 1

D. Quote Sandwich 2

E. Response to counterclaim

F. Explanation of response to
counterclaim

G. Concluding sentence

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 GRADE 8: MODULE 2

Unit 2 Lesson 13
Essay Planner

V. Conclusion

A. Restate claim

B. Summarize reasons

C. Explain why your view is

worth consideration by the
reader

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 GRADE 8: MODULE 2

Name:
Unit 2 Lesson 14
Date: Writing Improvement Tracker

Strategies to Improve Writing

• Revise my writing (or my planning) • Ask myself, “Does this make sense?”
multiple times
• Look at other models • Read the necessary texts closely
• Read others’ work • Talk through my ideas with an adult
• Ask questions when I have them • Use Quote Sandwiches
• Take a break and reread with fresh • Have another student write the gist
eyes of my paragraphs and make sure
they match what I thought they were
Essay from Module 1
Directions: Look at the first two rows of the Expository Writing Evaluation Rubric.

1. What did I do well in my essay?

2. What do I need to improve?

3. What is my goal for the next module for those areas? (Be specific: “I will do better” is too general.
Name a specific skill to improve, such as “I will use stronger evidence in my writing.”)

4. Look at the list of strategies at the top of this tracker. What one or two strategies will I use to meet
my goal in the next module?

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 GRADE 8: MODULE 2

Unit 2 Lesson 14
Writing Improvement Tracker
Essay from Module 2
Directions: Look at the first two rows of the Argument Essay Rubric.

1 What did I do well in my essay?

2. What do I need to improve?

3.What is my goal for the next module for those areas? (Be specific: “I will do better” is too general.
Name a specific skill to improve, such as “I will use stronger evidence in my writing.”)

4. Look at the list of strategies at the top of this tracker. What one or two strategies will I use to meet
my goal in the next module?

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 GRADE 8: MODULE 2

Unit 2 Lesson 14
Writing Improvement Tracker
Essay from Module 3
Look at the first two rows of the Expository Writing Rubric

1. What did I do well in my essay?

2.What do I need to improve?

3. What is my goal for the next module for those areas? (Be specific: “I will do better” is too general.
Name a specific skill to improve, such as “I will use stronger evidence in my writing.”)

4. Look at the list of strategies at the top of this tracker. What one or two strategies will I use to meet
my goal in the next module?

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 GRADE 8: MODULE 2

Unit 2 Lesson 14
Writing Improvement Tracker

Essay from Module 4

Directions: Look at the first two rows of Argument Writing Rubric.
1. What did I do well in my essay?

2. What in my writing improved this year?

3. What strategy helped me the most?

4. What improvement am I most proud of?

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 GRADE 8: MODULE 2

Unit 2 Lesson 15
Exit Ticket

Name:

Date:

List your top three favorite characters from the play:

1.

2.

3.

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 GRADE 8: MODULE 2

Unit 2 Lesson 16
Performance Task Prompt

Name:

Date:

Character Confessional Narrative

You have tracked how various characters in Shakespeare’s A Midsummer Night’s Dream attempted to
control or manipulate each other’s actions. Choose one character from the play and write a
confessional from his or her point of view, explaining his or her choices and actions in attempting to
control another character throughout the play. Your confessional should answer the questions: “Why
did you want to control someone else’s actions?” “How did you try to control someone else’s actions?”
and finally, “What were the results of your trying to control someone else’s actions?”

Key Criteria for Success:

• Establish the context by introducing your character and his/her motives.
• Provide a conclusion that neatly wraps up the action and reflects on what happened when “you”
tried to control someone else.
• Include narrative techniques such as: dialogue, description and details, pacing, transition
words/phrases to link individual scripts together, precise words and sensory language to capture
the action and demonstrate emotion, and reflection.
• Adhere to the conventions of standard written English.

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 GRADE 8: MODULE 2

Unit 2 Lesson 17
Model Character Confessional

Name:

Date:

Puck’s Confessional: My Issue with Control

Part I: Why I wanted control

I have a bit of a reputation. My name is Robin Goodfellow, but people call me Puck. I am a spirit.
Some think I am an evil goblin, but really I am just misunderstood. I simply like to have fun. Okay,
sometimes it is at another’s expense, but most of the time I just want to have a good laugh. Taking the
cream from the milk? Getting people lost? Hilarious if you ask me. Some say I work for Oberon, and
yes I am his jester, but really a spirit as mischievous as I can work for no man (or fairy). “I am that
merry wanderer of the night” (2.1.43).

When Oberon suggests I do something, if I think it is amusing then I generally do it. To be fair, I am
not his fairy. I do not abide only by his rules. When people say I’m just his servant, it makes me angry;
that is when I tend to take things into my own hands. Sometimes, I accidentally gain control over
everyone, but other times it is my “mistakes” that make for the most amusing moments. For example,
that time when Oberon was mad at Titania.

Oberon was mad at Titania over a changeling. So when he told me to find the juice of a flower that
would force his queen to fall in love with the first creature she saw, I thought it was a fabulous idea.
Potions and tricks give me control. I can manipulate others to do things they normally would never do
on their own. I have the power and, boy, is it entertaining.

Part II: What I did to take control

Anyway, I am getting off track. I got the flower with the magical love juice for Oberon and brought it
to him to trick Titania. He told me to use some of it on the Athenian guy he had come across in the
woods, who was treating a young woman poorly. With this assignment, things really got interesting.

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 GRADE 8: MODULE 2

Unit 2 Lesson 17
Model Character Confessional

At first I couldn’t find anyone to anoint. “Through the forest have I gone But Athenian found I none …
Night and silence! Who is here? Weeds of Athens he doth wear” (2.2.66-71). When I finally saw the
Athenian man, I couldn’t believe it. Sleeping just a few feet away was a beautiful soul. This girl made
me sad. How dare the man not love her! I anointed his eyes so that when he awoke he would be so
tortured by love he would never sleep again.

On my way back to Oberon, I happened on a group of men rehearsing a play for Theseus’s wedding
day. With a little bit of magic, one just so happened to end up wearing the head of an ass (hilarious).
They were right near where Titania slept; and when she awoke, she was completely in love with an
ass! I couldn’t have planned this event any better! Oberon could not have been more pleased, and
once again I was in control.

Part III: The results

Yet, my attempts at controlling others were not turning out quite as I had planned. It turns out that I
anointed the wrong man’s eyes—an honest mistake or just a better twist to our little tale? I’ll never
tell. But Oberon is all about true love and all that nonsense, so he asked me to fix it. We saw the man
Demetrius (whom I was supposed to anoint) begging to marry Hermia. Then we saw the man
Lysander (whom I did anoint) awake and fall instantly in love with Helena. Now this was
entertainment! This is why I play with humans. “Lord, what fools these mortals be” (2.3.121).

After a while, Oberon was over my little game and he asked me to restore order to the young lovers’
lives. At this point, I was tired of watching the boys fight over Helena (who really was no prize – I
have never heard someone complain so much!), so I made sure that they were all separated and fell
into a deep sleep. I changed my voice to lead Lysander away and then led Demetrius away, as well.
Eventually, I had all four humans asleep. I took pity on them all and decided to right the wrongs.
Lysander and Hermia had their happily ever after, Demetrius was fooled into loving that silly Helena,
and all of the humans had their mates. Finally, Oberon and I were amused, and Titania and Oberon
were happy again.

At the end of this midsummer’s night, I must say that I had a grand adventure in
attempting to control the others, but it has certainly given me some food for thought
about all the twists and turns that can happen in the process. You really just can’t ever
predict how people are going to handle being in a weird situation.

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 GRADE 8: MODULE 2

Name: Unit 2 Lesson 17

Character Confessional Narrative
Date:
Planner

Question 1: Question 2: Question 3:

What motivates people to How do people try to What happens when people
try to control each other’s control each other’s try to control each other’s
actions? actions? action?

Scene(s)

How does
this
scene/do
these
scenes
address the
question?

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 GRADE 8: MODULE 2
Unit 3 Lesson 1
Character Confessional Rubric
Criteria 0 1–Needs 2–Fair 3–Good 4–Excellent
Improvement
CONTENT AND The narrative The narrative does The narrative The narrative builds The narrative explicitly
ANALYSIS demonstrates a lack not follow logically generally builds from from A Midsummer builds from A
of comprehension from A Midsummer A Midsummer Night’s Dream to Midsummer Night’s
of A Midsummer Night’s Dream or Night’s Dream to describe the Dream to creatively
Night’s Dream or does not describe the describe the motivation, method, imagine the motivation,
the thematic motivation, method, motivation, method, and result(s) of a method, and result(s) of
concept of control and result(s) of a and result(s) of character’s attempts a character’s attempts to
in the text. character’s attempts trying to control to control another’s control another’s
to control another’s another’s actions, but actions. actions.
actions. may not be specific
to one character.
COHESION, The narrative has The narrative is not The narrative has a The narrative has a The narrative’s pace
ORGANIZATION, no evidence of logically organized to beginning, middle, beginning, middle, flows smoothly,
AND STYLE organization. help show the and end, but there is and end that connect naturally, and logically
motivation, method, no clear connection to each other to from an exposition
and result(s) of a between sections. create a unified story. through several related
character’s attempts events.
to control another’s
actions.
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 GRADE 8: MODULE 2
Criteria 0 1–Needs 2–Fair 3–Good 4–Excellent
Improvement
COHESION, The narrative uses The narrative The narrative The narrative The narrative
ORGANIZATION, language that is techniques used in employs some consistently employs consistently and
AND STYLE generally incoherent the script are narrative techniques, narrative techniques, creatively employs
(continued) or only quotes from imprecise or but uses them including sensory narrative techniques,
A Midsummer inappropriate for inconsistently. language, dialogue, including sophisticated
Night’s Dream are developing the and details to sensory language,
used. character’s narrative. develop experiences dialogue, and details to
and events. develop experiences and
events.
The narrative does The narrative’s The narrative’s The narrative’s The narrative’s
not include a conclusion is illogical conclusion follows conclusion follows compelling conclusion
conclusion. or irrelevant. generally from logically from and follows logically from and
earlier events in the reflects on earlier insightfully reflects on
essay. events in the essay. earlier events in the
essay.
CONTROL OF Capitalization, Frequent Some capitalization, Occasional Use of capitalization,
CONVENTIONS spelling, and capitalization, spelling, and capitalization, spelling, and
punctuation errors spelling, and punctuation errors spelling, and punctuation is grade-
prevent the reader punctuation errors may hinder punctuation errors appropriate with few
from understanding hinder comprehension. do not hinder errors.
the narrative. comprehension. comprehension.
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 GRADE 8: MODULE 2

Unit 3 Lesson 2
Connections between the Character Confessional Narrative and
A Midsummer Night’s Dream T-chart

Name:

Date:

Scene:

How does this scene connect to the narrative? How did I embellish the scene?

Scene:

How does this scene connect to the narrative? How did I embellish the scene?

Scene:

How does this scene connect to the narrative? How did I embellish the scene?

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 GRADE 8: MODULE 2

Unit 3 Lesson 2
Connections and Embellishments Model Response

My character confessional narrative is a response to the play A Midsummer Night’s Dream. It

provides a humorous presentation of Puck’s issue with controlling others. Puck is really a divided
character on the theme of control, because he likes to control people to get a good laugh but is also
directed by Oberon. He is controlled by Oberon, but doesn’t mind too much because he finds
amusement in the tasks Oberon assigns.

My narrative connects with the play since the scenes I chose to use to create the story of my
confession all happened in the play. A fairy described Puck using the words I placed in the first
paragraph of my essay. I accurately describe Puck’s role in Oberon’s plan for controlling Titania, as
well as in turning an actor’s head into that of an ass and the funny consequences Puck thought this
event had for Titania. I also described the events with the four lovers from Athens rather faithfully.

My narrative also provides embellishment to the play because I wanted to really write Puck’s voice
well and with some humor, such as when I write about how much Helena complains. I tried to provide
a sense of his tricky nature. My narrative diverges from the play when I use the fairy’s description of
Puck as Puck’s own words to describe himself. I also gave a sense of Puck’s view of his relationship
with Oberon that embellished what was said in the play. I had him say that he is angry when he is
seen as Oberon’s servant.

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 GRADE 8: MODULE 2

Unit 3 Lesson 2
Peer Critique Guidelines

Be kind: Always treat others with dignity and respect. This means we never use words that are
hurtful, including sarcasm.

Be specific: Focus on particular strengths and weaknesses, rather than making general comments
like “It’s good” or “I like it.” Provide insight into why it is good or what, specifically, you like about it.

Be helpful: The goal is to positively contribute to the individual or the group, not to simply be heard.
Echoing the thoughts of others or cleverly pointing out details that are irrelevant wastes time.

Participate: Peer critique is a process to support each other, and your feedback is valued.

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 GRADE 8: MODULE 2

Name: Unit 3 Lesson 2

Stars and Steps Recording Form
Date:
(For Character Confessional Narrative Peer
Critique)

Star 1:

Step 1:

Star 2:

Step 2:

Suggestions to help answer question:

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 GRADE 8: MODULE 2

Unit 3 Lesson 2
Transition Model for Character Confessional Narrative

Name:

Date:

After a while, Oberon was over my little game and he asked me to restore order to the young lovers’
lives. At this point, I was tired of watching the boys fight over Helena (who really was no prize—I have
never heard someone complain so much!), so I made sure that they were separated and fell into a
deep sleep. I changed my voice to lead Lysander away and then led Demetrius away, as well.
Eventually, I had all four humans asleep. I took pity on them all and decided to right the wrongs.
Lysander and Hermia had their happily ever after, Demetrius was fooled into loving that silly Helena,
and all of the humans had their mates. Finally, Oberon and I were amused, and Titania and Oberon
were happy again.

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 GRADE 8: MODULE 2

Unit 3 Lesson 2
Transitional Words

The purpose of transitions is to help the reader make connections between paragraphs, or to signal a
shift in your writing, for example a shift in time or place.

The words below are some, but not all of the common transition words used.

Time words during, before, after, following

Place words here, there, nearby, beyond

Contrast words however, yet, though, otherwise, nevertheless

Comparison words likewise, similarly, in the same way

Cause words because, since, on account

Effect words hence, accordingly, therefore, on account of

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 GRADE 8: MODULE 2

Unit 3 Lesson 3
End of Unit 3 Assessment: Commentary on Confessional

Write a commentary to accompany your character confessional narrative, answering the following
questions:

• “How is your character confessional narrative a response to the play A Midsummer Night’s
Dream?”
• “How does your narrative connect with the play? Why?”
• “How does it provide embellishments to the play?”

Use evidence from the play and your essay to justify your answers. Your commentary should be no
more than three paragraphs long.

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Unit 3 Lesson 4
Character Confessional Self-Assessment

Explain why you gave yourself the score you did for each category.

Content and Analysis: I gave myself a score of (1, 2, 3, or 4) because:

Cohesion, Organization, and Style: I gave myself a score of (1, 2, 3, or 4) because:

Control of Conventions: I gave myself a score of (1, 2, 3, or 4) because:

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