April 23-May 6 Day 21 through Day 30 Day 21- Lesson 6 - … · 2020. 4. 21. · 20 Mama got up and followed him through the front door. The girls knew better than to go in too. 21

8th Grade ELA

April 23-May 6

Day 21 through Day 30

Day 21- Lesson 6 - Inferences

Day 22- I-Ready

Day 23- Lesson 9- Summarizing

Day 24- Lesson 7- Dialogue & Incidents

Day 25- Lesson 15- Word meanings

Day 26- Lesson 16- Analogies &Allusions

Day 27- I-Ready

Day 28- Lesson 17- Comparing & Contrasting

Day 29- Lesson 18- Perspective

Day 30- Lesson 19 (Figure Language) & Lesson 20 (Analogies)

Lesson 6

©Curriculum Associates, LLC Copying is not permitted.

L6: Citing Evidence to Support Inferences58

Read the story. Then answer the questions that follow.

from Maud Marthaby Gwendolyn Brooks

Maud Martha is both the title and the heroine of Pulitzer-prize winning poet Gwendolyn Brooks’ memorable work of fiction. The book is actually a novella composed of vignettes, or sketches, of Maud Martha, her family and friends, and the marriage she enters into as a young woman. Maud grows up in the Chicago of the 1940s. In the story you are about to read, Maud’s family awaits the return of the family patriarch, who has gone to town to apply for a loan so that the family will not have to give up their home.

1 What had been wanted was this always, this always to last, the talking softly on this porch, with the snake plant in the jardiniere in the southwest corner, and the obstinate slip from Aunt Eppie’s magnificent fern at the left of the friendly door. Mama, Maud Martha, and Helen rocked slowly in their rocking chairs, and looked at the late afternoon light on the lawn and at the emphatic iron of the fence and at the poplar tree. These things might soon be theirs no longer. Those shafts and pools of light, the tree, the graceful iron, might soon be viewed possessively by different eyes.

2 Papa was to have gone that noon, during his lunch hour, to the office of the Home Owners’ Loan. If he had not succeeded in getting another extension, they would be leaving this house in which they had lived for more than fourteen years. There was little hope. The Home Owner’s Loan was hard. They sat, making their plans.

3 “We’ll be moving into a nice flat somewhere,” said Mama. “Somewhere on South Park, or Michigan, or in Washington Park Court.” Those flats, as the girls and Mama knew well, were burdens on wages twice the size of Papa’s. This was not mentioned now.

4 “They’re much prettier than this old house,” said Helen. “I have friends I’d just as soon not bring here. And I have other friends that wouldn’t come down this far for anything, unless they were in a taxi.”

5 Yesterday, Maud Martha would have attacked her. Tomorrow she might. Today she said nothing. She merely gazed at a little hopping robin in the tree, her tree, and tried to keep the fronts of her eyes dry.

6 “Well, I do know,” said Mama, turning her hands over and over, “that I’ve been getting tireder and tireder of doing that firing. From October to April, there’s firing to be done.”

7 “But lately we’ve been helping, Harry and I,” said Maud Martha. “And sometimes in March and April, and in October, and even in November, we could build a little fire in the fireplace. Sometimes, the weather was just right for that.”

8 She knew from the way they looked at her, that this had been a mistake. They did not want to cry.

9 But she felt that the little line of white, sometimes ridged with smoked purple, and all that cream-shot saffron would never drift across any western sky except that in back of this house. The rain would drum with as sweet a dullness nowhere but here. The birds on South Park were mechanical birds, no better than the poor caught canaries in those “rich” women’s sun parlors.

10 “It’s just going to kill Papa!” burst out Maud Martha. “He loves this house! He lives for this house!”

Part 5: Independent Practice

Lesson 6


L6: Citing Evidence to Support Inferences 59

11 “He lives for us,” said Helen. “It’s us he loves. He wouldn’t want the house, except for us.”

12 “And he’ll have us,” added Mama, “wherever.”

13 “You know,” Helen said, “If you want to know the truth, this is a relief. If this hadn’t come up, we would have gone on, just dragged on, hanging out here forever.

14 “It might,” allowed Mama, “be an act of God. God may just have reached down and picked up the reins.”

15 “Yes,” Maud Martha cracked in, “that’s what you always say—that God knows best.”

16 Her mother looked at her quickly, decided the statement was not suspect, looked away.

17 Helen saw Papa coming. “There’s Papa,” said Helen.

18 They could not tell a thing from the way Papa was walking. It was that same dear, little staccato walk, one shoulder down, then the other, then repeat, and repeat. They watched his progress. He passed the Kennedys’; he passed the vacant lot; he passed Mrs. Blakemore’s. They wanted to hurl themselves over the fence, into the street, and shake the truth out of his collar. He opened the gate and still his stride told them nothing.

19 “Hello,” he said.

20 Mama got up and followed him through the front door. The girls knew better than to go in too.

21 Presently, Mama’s head emerged. Her eyes were lamps turned on.

22 “It’s all right,” she exclaimed. “He got it. It’s all over. Everything is all right.”

23 The door slammed shut. Mama’s footsteps hurried away.

24 “I think,” said Helen, “I think I’ll give a party. I haven’t given a party since I was eleven. I’d like some of my friends to just casually see that we’re homeowners.”

1 Read these sentences from the story.

These things might be theirs no longer. Those shafts and pools of light, the tree, the graceful iron, might soon be viewed possessively by different eyes.

How do these details support the idea that the family wants to keep their home?

A They show that the family regrets that others will enjoy these things instead of them.

B They create a gloomy atmosphere that expresses the family’s sadness.

C They give the impression that the garden is too lovely for anyone to own.

D They warn that other people have tried unsuccessfully to purchase the home.


Lesson 6


L6: Citing Evidence to Support Inferences60

2 When Mama talks about moving into a nice apartment somewhere, she is really just trying to make Helen and Maud Martha feel better about moving. Which sentence from the passage best supports this assertion?

A “These things might soon be theirs no longer.”

B “‘Somewhere on South Park, or Michigan, or in Washington Park Court.’”

C “Those flats, as the girls and Mama knew well, were burdens on wages twice the size of Papa’s.”

D “‘And I have other friends that wouldn’t come down this far for anything, unless they were in a taxi.’”

3 Maud Martha does not believe at all that moving might be a good thing, as Helen and Mama suggest. Which sentence from the passage best supports this inference?

A “‘We’ll be moving into a nice flat somewhere,’ said Mama.”

B “‘I have friends I’d just as soon not bring here.’”

C “She merely gazed at a little hopping robin in the tree, her tree, and tried to keep the fronts of her eyes dry.”

D “She knew from the way they looked at her, that this had been a mistake.”

4 Explain what you can infer about what the house represents to the characters in this story. Use at least two pieces of direct evidence from the story to support your answer.

Go back and see what you can check off on the Self Check on page 52.Self Check


Lesson 9


L9: Summarizing Literary Texts82

Read the story. Then answer the questions that follow.

from The War of the Worldsby H. G. Wells

Earth was not prepared for the Martian invasion that began in a field outside of London. Disbelief turned to horror as the Martian forces spread throughout the country, destroying everything in their path. No human weapons were able to stop their deadly attacks and superior technology. Then a sudden and surprising set of events occurred that changed everything.

1 I came upon the wrecked handling-machine halfway to St. John’s Wood station. At first I thought a house had fallen across the road. It was only as I clambered among the ruins that I saw, with a start, this mechanical Samson lying, with its tentacles bent and smashed and twisted, among the ruins it had made. The forepart was shattered. It seemed as if it had driven blindly straight at the house, and had been overwhelmed in its overthrow. It seemed to me then that this might have happened by a handling-machine escaping from the guidance of its Martian. I could not clamber among the ruins to see it, and the twilight was now . . . far advanced. . . .

2 Wondering still more at all that I had seen, I pushed on towards Primrose Hill. Far away, through a gap in the trees, I saw a second Martian, as motionless as the first, standing in the park towards the Zoological Gardens, and silent. A little beyond the ruins about the smashed handling-machine I came upon the red weed1 again, and found the Regent’s Canal, a spongy mass of dark-red vegetation. . . .

3 Great mounds had been heaped about the crest of the hill, making a huge redoubt2 of it—it was the final and largest place the Martians had made—and from behind these heaps there rose a thin smoke against the sky. Against the sky line an eager dog ran and disappeared. The thought that had flashed into my mind grew real, grew credible. I felt no fear, only a wild trembling exultation, as I ran up the hill towards the motionless monster. Out of the hood hung lank shreds of brown, at which the hungry birds pecked and tore.

4 In another moment I had scrambled up the earthen rampart and stood upon its crest, and the interior of the redoubt was below me. A mighty space it was, with gigantic machines here and there within it, huge mounds of material and strange shelter places. And scattered about it, some in their overturned war-machines, some in the now rigid handling-machines, and a dozen of them stark and silent and laid in a row, were the Martians—dead—slain by the putrefactive3 and disease bacteria against which their systems were unprepared; slain as late the red weed was being slain; slain, all after man’s devices had failed, by the humblest things that God, in his wisdom, has put forth upon this earth. 1 red weed: a fictional plant native to Mars

2 redoubt: temporary fortification, or wall built as a defense

3 putrefactive: rotting, having a foul odor


Lesson 9


L9: Summarizing Literary Texts 83

5 For so it had come about, as indeed I and many men might have foreseen had not terror and disaster blinded our minds. These germs of disease have taken toll of humanity since life began here. . . . But there are no bacteria on Mars, and directly these invaders arrived, directly they drank and fed, our microscopic allies began to work their overthrow.

1 Which detail from paragraph 1 would be least important to include in a summary of the paragraph?

A On the way to St. John’s Wood station, the narrator finds a demolished handling-machine.

B The machine seems to have collapsed in the middle of destroying a house.

C The narrator believes that the wreckage might be the result of a Martian losing control of the machine.

D Due to the lack of light, the narrator cannot see inside the wreck.

2 Which of the following is not an objective statement of events?

A The narrator notices a second smashed and motionless handling-machine as he continues on his way towards Primrose Hill.

B The aliens probably felt they had nothing to fear from the weak creatures of Earth.

C After seeing smoke behind the Martian redoubt, the narrator has a thought that causes him to run eagerly toward another immobile machine.

D The remains of a Martian’s body are hanging out of the hood of one of the machines.

3 Which statement is the best summary of paragraph 2?

A As the narrator approaches Primrose Hill, he finds more signs of the dying Martians.

B The narrator explores the area around the Zoological Gardens and the Regent’s Canal.

C Curious about the crashed machine, the narrator makes his way toward Primrose Hill.

D Two Martian machines have mysteriously broken down, and the narrator investigates.


Lesson 9


L9: Summarizing Literary Texts84

4 Which statement relating to paragraphs 4 and 5 would be most important to include in a summary of the end of the story?

A The narrator has to stand on the crest of the Martian fortification in order to see the scene in its interior.

B On the other side of the redoubt is a huge space with odd areas of shelter.

C The Martians are conquered by simple disease bacteria to which their bodies are not immune.

D The people of Earth should have recognized the importance of bacteria in defeating the Martians.

5 Write a brief and objective summary of this story. Remember to include the most important events, as well as at least three key details about characters and setting.



Lesson 7


L7: Analyzing Dialogue and Incidents in Stories and Drama66

Read the story and the play. Then answer the questions that follow.

from Don Quixoteby Miguel de Cervantes

1 After Don Quixote and Sancho Panza had ridden for some distance, they came to a vast plain dotted with windmills.

2 “Fortune favors us, dear Sancho,” said Don Quixote, gesturing toward the plain. “She has deemed us worthy to battle and slay these thirty—no, these forty—monstrous giants. Sweeping so evil a breed from the face of the earth is a righteous service.”

3 Sancho peered across the plain. “What giants?”

4 “Those there!” answered his master. “With the long arms.”

5 “Your worship,” said Sancho, “what we see are not giants but windmills. What seem to be their arms are sails turned by the wind.”

6 “It is easy to see,” replied Don Quixote, “that you are not used to adventuring. Those are giants. And if you are afraid, go and hide while I engage them in fierce and unequal combat.”

7 So saying, Don Quixote gave the spur to his steed, heedless of Sancho’s cries that most certainly they were windmills and not giants he was going to attack. Don Quixote, however, was so certain they were giants that he neither heard the cries of Sancho, nor saw, near as he was, what they really were. “Fly not, cowards and vile beings, for a single knight attacks you!”

8 A slight breeze sprang up, and the great sails began to move. “You may have more arms than Briareus,1” exclaimed Don Quixote, “but you have to reckon with me.” And so saying, he charged and fell upon the first mill that stood in front of him. But as he drove in his lance, the wind whirled the sail with enough force to toss horse and rider across the plain. Sancho hurried to him.

9 “Bless me!” Sancho said. “Did I not say they were only windmills?”

10 “Hush, friend Sancho,” replied Don Quixote. “I think, and so ’tis true, that the magician who carried off my books has turned these giants into windmills to rob me of the glory of vanquishing them. But in the end his wicked arts will mean little against my good sword.”1 Briareus: from Greek myth; a giant who had 100 arms.


Lesson 7


L7: Analyzing Dialogue and Incidents in Stories and Drama 67

from The Comical History of Don Quixoteby Thomas d’Urfey

end of ACT I, SCENE I

1 Don Quixote: See you that giant, Sancho? [points offstage]

2 Sancho [confused]: Giant, sire?

3 Don Quixote: That monstrous giant, with arms almost two leagues long! See how he swings ’em about, and fans himself to cool his head.

4 Sancho: I see no giant, sire. I see a windmill, its sails turning.

5 Don Quixote: Idiot! They may look like sails to you, but I know they are the arms of giants. Go and hide, if you are afraid. I will enter into cruel and unequal battle with the beasts. [Exit]

6 Sancho: Are you blind? Your brains will be dashed out by the sails! [Exit Sancho . . . curtain falls]

beginning of ACT I, SCENE II

[Curtain rises upon the interior of an inn. Two friends of Don Quixote, Nicholas and Perez, sit at a table, picking at plates of uneaten food.]

7 Nicholas: Those two mad fools have gone knight erranting.2

8 Perez: It troubles me that a man who had such good sense should be so strangely bewitched by the idea of knight errantry.

9 Nicholas: ’Tis indeed a strange infatuation.

10 Perez [brightening]: But I think I have used my time well. While you have been searching for the whimsical knight, his housekeeper and I have been burning his books.

11 Nicholas: I have no doubt that will help cure him. Those tales of knighthood have upended his sense—but look! Here comes our host.

[Enter Vincent, laughing]

12 Nicholas: Innkeeper! What makes you so merry this morning?

13 Vincent [laughing]: Oh, my ribs! Don Quixote, Don Quixote.

14 Perez: Why? What of him?

15 Vincent: The mad fool has charged a windmill, swearing it was a giant! The sails spun him about like a rat in a wheel until, at last, Fortune let him keep the few brains he has left and tossed him into a fish pond. [shaking with laughter] Oh, I shall burst!

2 Erranting: from old French; wandering in search of adventure


Lesson 7


L7: Analyzing Dialogue and Incidents in Stories and Drama68

1 How does the dialogue reveal that Sancho respects Don Quixote in the story?

A He tells him the “giants” are windmills.

B He refers to him as “your worship.”

C He tries to convince him not to fight.

D He hurries to him to see if he is hurt.

2 Read this line from the story.

“Fortune favors us, dear Sancho,” said Don Quixote, gesturing toward the plain. “She has deemed us worthy to battle and slay these thirty—no, these forty—monstrous giants. Sweeping so evil a breed from the face of the earth is a righteous service.”

How does seeing the windmills affect Don Quixote’s journey?

A He decides the windmills are a sign that he should find and destroy forty giants.

B He thinks he must visit the windmills to make his fortune.

C The sight motivates him to go out and rid the earth of evil.

D He thinks the windmills are giants that he is meant to do battle with.

3 How do Don Quixote’s actions affect his friends Perez and Nicholas in the play?

A They worry about him and search for ways to help him regain his sanity.

B They think Don Quixote is a fool and encourage others to make fun of him.

C They decide Don Quixote is dangerous and plot how to capture him.

D They agree to ask for the Innkeeper’s advice about how to stop Don Quixote’s foolishness.

4 Describe Sancho’s attitude toward Don Quixote in the story. Describe Vincent’s attitude toward Don Quixote in the play. Use two specific events or pieces of dialogue to support your response.




L15: Determining Word Meanings150

Lesson 15

Read the poem. Then answer the questions that follow.

The Lighthouseby Henry Wadsworth Longfellow

The rocky ledge runs far into the sea, And on its outer point, some miles away, The Lighthouse lifts its massive masonry, A pillar of fire by night, of cloud by day.

5 Even at this distance I can see the tides, Upheaving, break unheard along its base, A speechless wrath, that rises and subsides In the white lip and tremor of the face.

And as the evening darkens, lo! how bright, 10 Through the deep purple of the twilight air, Beams forth the sudden radiance of its light With strange, unearthly splendor in the glare!

Not one alone; from each projecting cape And perilous reef along the ocean’s verge, 15 Starts into life a dim, gigantic shape, Holding its lantern o’er the restless surge.

Like the great giant Christopher1 it stands Upon the brink of the tempestuous wave, Wading far out among the rocks and sands, 20 The night-o’ertaken mariner to save.

And the great ships sail outward and return, Bending and bowing o’er the billowy swells, And ever joyful, as they see it burn, They wave their silent welcomes and farewells.

25 They come forth from the darkness, and their sails Gleam for a moment only in the blaze, And eager faces, as the light unveils, Gaze at the tower, and vanish while they gaze.

The mariner remembers when a child, 30 On his first voyage, he saw it fade and sink; And when, returning from adventures wild, He saw it rise again o’er ocean’s brink.

1 Christopher: Saint Christopher is considered the protector of travelers.


Lesson 15


L15: Determining Word Meanings 151

Steadfast, serene, immovable, the same Year after year, through all the silent night 35 Burns on forevermore that quenchless flame, Shines on that inextinguishable light!

It sees the ocean to its bosom clasp The rocks and sea-sand with the kiss of peace; It sees the wild winds lift it in their grasp, 40 And hold it up, and shake it like a fleece.

The startled waves leap over it; the storm Smites it with all the scourges of the rain, And steadily against its solid form Press the great shoulders of the hurricane.

45 The sea-bird wheeling round it, with the din Of wings and winds and solitary cries, Blinded and maddened by the light within, Dashes himself against the glare, and dies.

A new Prometheus,2 chained upon the rock, 50 Still grasping in his hand the fire of Jove, It does not hear the cry, nor heed the shock, But hails the mariner with words of love.

“Sail on!” it says, “sail on, ye stately ships! And with your floating bridge the ocean span; 55 Be mine to guard this light from all eclipse, Be yours to bring man nearer unto man!”

2 Prometheus: In Greek mythology, Prometheus was chained to rocks and attacked by birds as a punishment for stealing fire.

1 Which of the phrases from the poem best helps the reader to understand the meaning of the phrase “restless surge” in line 16?

A “A pillar of fire by night”

B “that rises and subsides”

C “from each projecting cape”

D “a dim, gigantic shape”



L15: Determining Word Meanings152

Lesson 15

2 Reread lines 17–20 from the poem.

Like the great giant Christopher it stands Upon the brink of the tempestuous wave, Wading far out among the rocks and sands, The night-o’ertaken mariner to save.

Which of the following statements about the stanza is accurate?

A The stanza compares a legendary giant named Christopher to the tempestuous waves in which he stands.

B The stanza compares the lighthouse to a giant named Christopher who watches over sailors in their ships on the high seas.

C The stanza compares the lighthouse to Saint Christopher and provides a comforting image of a giant wading out to save sailors.

D The stanza describes the brave efforts of a lighthouse keeper named Christopher to save a drowning sailor.

3 Reread lines 33–36 of the poem. What do the words and phrases reveal about the speaker’s attitude toward the lighthouse?

A The speaker views the lighthouse as a thing of the past that has outlived its usefulness.

B The speaker admires the lighthouse for its reliability and as a source of comfort.

C The speaker dwells on the unrelenting nature of the lighthouse’s light, as if tired of it.

D The speaker is bored by the sameness of the lighthouse and its performance.

4 Which phrase from the poem best helps the reader to understand the meaning of inextinguishable in line 36?

A “Gleam for a moment only”

B “through all the silent night”

C “Burns on forevermore”

D “with the kiss of peace”



Lesson 16


L16: Analyzing Analogies and Allusions158

Read this fictional description of a trip to watch a famous 20th-century artist at work. Then answer the questions that follow.

A Trip over the Rainbowby Michael Valdez

1 The sun woke Ben the morning of July 20, 1951, and he was so excited he couldn’t get back to sleep. It was the day his summer art class was going to visit the famous artist Jackson Pollock. Not many people were allowed to see the artist’s studio at his farmhouse in Springs on New York’s Long Island, but Miss Zanders, Ben’s teacher, had been a student with the famous artist in the Art Students’ League twenty years ago. As a result, her class had gotten special permission for the visit.

2 Ben had discovered art during the last school year, and he was especially inspired by abstract painting. He was fascinated by how modern artists put colors and shapes together to create a feeling or an impression without actually showing a real-life image. It seemed almost mystical, like turning straw into gold, and Mr. Pollock was a master. The chance to see this kind of art being created was a once-in-a-lifetime opportunity. Ben had read about Mr. Pollock’s unique style; now he was about to witness it firsthand.

3 As the class arrived at Mr. Pollock’s farmhouse, Ben looked around eagerly. It didn’t seem like much—a shabby farmhouse and weathered barn—a scene straight out of Kansas. Ben hid his disappointment; somehow he’d imagined the famous man’s studio as being more like the City of Oz. Then, suddenly, the class came upon the artist himself. Mr. Pollock had laid his large canvas outside on the ground on a piece of thick cloth. He was concentrating on his work and didn’t look up at their arrival. Miss Zanders took them closer but told them to be quiet and watch without interrupting.

4 Mr. Pollock didn’t paint with a brush like other artists. Instead, he dipped a stick into a can of paint and then dripped or flung it onto the canvas. Bent in half like a jack-knife, he paced around the canvas to paint from all angles, his movements quick and confident. The painting was already a dense tapestry of black and white drops and streaks of paint, but he continued to weave white paint and then more black into the warp and weft1 in an ever-changing pattern.

5 Ben noticed the artist’s boots were speckled with paint, and there even seemed to be paint on the soles. A moment later Ben knew why, as he watched Mr. Pollock step right onto the canvas. He left an indelible print on the painting, like a fossil of an ancient sea creature in a piece of rock.

6 For a long time the students remained all but invisible; Mr. Pollock had given no sign that he knew the class was there. Suddenly, he began to talk as he painted, still not looking at his visitors but giving information about what he was doing that was clearly meant for them. He explained that he liked to paint directly, not from drawings or sketches, so he could express his feelings spontaneously. Mr. Pollock wanted to make his paintings as real as possible. Ben nodded, thinking it was like the difference between seeing a photo of a roller coaster ride and experiencing the real thing. 1 In weaving, the warp is the vertical threads and the weft is the thread woven horizontally between them to create a piece of cloth.


Lesson 16


L16: Analyzing Analogies and Allusions 159

7 Mr. Pollock continued, explaining that he liked to work outside because he felt more at home working in a large area. Putting the canvas on the ground allowed him to move freely around the large canvases he liked to use. This helped him feel like he was a part of the painting itself. He called his style “action painting,” and Ben could see why. Compared to Mr. Pollock, other artists were statues in front of their easels.

8 With no warning, Mr. Pollock placed one last drop of paint on the canvas, put the paint can and stick down, and stood up. Each painting had a life of its own, he explained, and this one was ready to live. Finally looking at the students directly, the artist invited them to look more closely at his finished work.

9 As Ben moved closer, he could feel the electric power and energy of the painting, and he shivered at its extraordinary effect on his senses. It was only black and white paint, but somehow it did live, as much as he or Miss Zanders or Mr. Pollock did. In a way, the painting was Mr. Pollock, or at least a part of him. Ben realized that this was the magic he had hoped to discover—what he loved about abstract painting—and that Mr. Pollock was a masterful wizard. Ben felt that each image created by Mr. Pollock gave him a glimpse into the man’s soul. This was Oz after all, and Ben never wanted to leave.

10 On the drive home, visions of the art he wanted to create floated about in Ben’s head. He would try Mr. Pollock’s style of action painting, but he also wanted to work with large blocks of vivid color to create fluid movements and rhythms. He knew it would take some time to figure out how to paint himself, his soul, as well as Mr. Pollock did his. But that was the goal, the magic, the way to Oz, and Ben knew it was only a matter of time before he found it for himself.

1 Read the sentence from paragraph 2 of the story.

It seemed almost mystical, like turning straw into gold, and Mr. Pollock was a master.

How does the author’s allusion to “turning straw into gold” from the folktale “Rumpelstiltskin” contribute to your understanding of Ben’s feelings about abstract art and artists?

A It expresses his beliefs that modern painting techniques produce bright, colorful art.

B It stresses Ben’s desire to turn himself into a famous abstract artist when he gets older.

C It emphasizes Ben’s sense of the magical nature of the artistic process.

D It reveals his admiration for Mr. Pollock’s ability to create valuable art from simple paints.


Lesson 16


L16: Analyzing Analogies and Allusions160

2 Read this line from paragraph 4 of the story.

The painting was already a dense tapestry of black and white drops and streaks of paint. . . .

What does the analogy of the tapestry reveal about the painting?

A The many lines and layers of paint created an abstract pattern on the canvas.

B The thick canvas and thread-like paint streaks made fossil-like prints and patterns.

C The artist used a sketch he had made to reproduce a tapestry in black and white.

D The black and white pattern grew as the artist paced around the canvas.

3 What is the purpose of the author’s use of phrases such as “electric power and energy” and “shivered at its extraordinary effect” in paragraph 9?

A They create a solemn, respectful tone about the painter’s unusual style.

B They reflect a tone of excitement and intensity about the painting.

C They signal a change from a tone of indifference to one of interest in the artist’s explanation.

D They build a sense of suspense and mystery about the life of the artist.

4 Explain how the allusions to The Wonderful Wizard of Oz contribute to the meaning and tone of the story. Use at least two details from the text in your response.




L17: Comparing and Contrasting Structure 167

Lesson 17Lesson 17

Read the two poems. Then answer the questions that follow.

A Nation’s Strengthby Ralph Waldo Emerson

What makes a nation’s pillars high And its foundations strong? What makes it mighty to defy The foes that round it throng?

5 It is not gold. Its kingdoms grand Go down in battle shock; Its shafts are laid on sinking sand, Not on abiding rock.

Is it the sword? Ask the red dust 10 Of empires passed away; The blood has turned their stones to rust, Their glory to decay.

And is it pride? Ah, that bright crown Has seemed to nations sweet; 15 But God has struck its luster down In ashes at his feet.

Not gold but only men can make A people great and strong; Men who for truth and honor’s sake 20 Stand fast and suffer long.

Brave men who work while others sleep, Who dare while others fly . . . They build a nation’s pillars deep And lift them to the sky.


Lesson 17


L17: Comparing and Contrasting Structure168

I Hear America Singingby Walt Whitman

I hear America singing, the varied carols I hear, Those of mechanics, each one singing his as it should be, blithe and strong, The carpenter singing his as he measures his plank or beam, The mason singing his as he makes ready for work, or leaves off work, 5 The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck, The shoemaker singing as he sits on his bench, the hatter singing as he stands, The wood-cutter’s song, the ploughboy’s, on his way in the morning, or at noon intermission or at sundown, 10 The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing, Each singing what belongs to her and to none else, The day what belongs to the day—at night the party of young fellows, robust, friendly, Singing with open mouths their strong melodious songs.



L17: Comparing and Contrasting Structure 169

Lesson 17Lesson 17Lesson 17

1 How does the structure of the two poems differ?

A Emerson’s poem has an ABAB rhyme scheme, while Whitman’s poem has no regular rhyme scheme.

B Emerson’s poem has multiple stanzas, while Whitman’s poem is a sonnet.

C Emerson’s poem has no set rhyme scheme, while Whitman’s poem uses repetition.

D The rhythm of Emerson’s poem varies in each stanza, while Whitman’s poem has a set rhythm.

2 How is the structure of both poems similar?

A Both use stanzas to develop meaning.

B Both use questions to emphasize certain points.

C Both use repetition to enhance meaning.

D Both use rhyme to draw attention to sounds.

3 Compare the structures of the two poems. How do these different structures affect the style of each poem?

A Emerson’s poem has a fixed number of lines, and it is light and carefree. Whitman’s poem uses rhyme, and it is humorous.

B Emerson’s poem is an elegy, and it is complex and serious. Whitman’s poem is a lyric poem, and it is imaginative.

C Emerson’s poem has unanswered questions, making it like a speech. Whitman’s poem repeats ideas for emphasis, making it monotonous.

D Emerson’s poem has regular stanzas, making it formal and controlled. Whitman’s poem is unstructured free verse, giving it a musical quality.


Lesson 17


L17: Comparing and Contrasting Structure170

4 Emerson’s poem is made of four-line stanzas. Whitman’s poem is one long stanza. Which best explains why the poets likely made the structural choices they did?

A Emerson intended to give his serious ideas a lighter look. Whitman wanted his light subject matter, singing, to look more serious.

B Emerson wanted to emphasize his fixed rhyme scheme. Whitman wanted to emphasize the forward flow of his rhythmic language.

C Emerson chose to display the variety of his language. Whitman chose to highlight the repetition of the word “singing.”

D Emerson wanted his rhythms to sound like soldiers marching. Whitman wanted his rhythms to sound like workmen singing.

5 Read the sentences below. Then complete the activity that follows.

In poetry, a stanza sometimes develops a single idea related to the main topic of a larger poem. Emerson and Whitman both follow this practice in structuring their poems.

Write a paragraph supporting this statement. Cite at least two pieces of evidence from Emerson’s multi-stanza poem and Whitman’s single-stanza poem.



Lesson 18


L18: Analyzing Differences in Perspective176

Read the following novel excerpt. Then answer the questions that follow.

from Esperanza Risingby Pam Muñoz Ryan

Pam Muñoz Ryan based the novel Esperanza Rising on the experiences of her grandmother, Esperanza Ortega, who went from a life of privilege in Mexico to the difficult life of an immigrant farm worker in California in the 1930s. In the book, Ryan imagines her grandmother as a 13-year-old girl who has just lost her father and her home on a large, successful ranch. Her father’s ruthless brother tries to force her mother to marry him, so Esperanza and Mama decide to travel to the United States with their trusted former servants Alfonso, Hortensia, and Miguel, whose relatives can get them work in the fields. All Esperanza has left of her old life is a beautiful doll her father gave her for her last birthday.

1 Esperanza stood at the station in Zacatecas, tugging at the second-hand dress. It didn’t fit properly and was the most awful yellow. And even though they had been out of the wagon for some hours, she still smelled like guavas. It had taken them two days to arrive in Zacatecas, but finally, that morning, they left the wagon hidden in a thicket of shrubs and trees and walked into town. After the discomfort of the wagon, she was looking forward to the train.

2 The locomotive arrived pulling a line of cars and hissing and spewing steam. But they did not board the fancy car with the compartments and leather seats or the dining car with the while linens. Instead, Alfonso led them to a car with rows of wooden benches, like church pews facing each other, already crowded with peasants. Trash littered the floor and it reeked of rotting fruit and urine. A man with a small goat on his lap grinned at Esperanza, revealing no teeth. Three barefoot children, two boys and girl, crowded near their mother. Their legs were chalky with dust, their clothes were in tatters, and their hair was grimy. An old, frail beggar woman pushed by them to the back of the car, clutching a picture of Our Lady of Guadalupe. Her hand was outstretched for alms.

3 Esperanza had never been so close to so many peasants before. When she went to school, all of her friends were like her. When she went to town, she was escorted and hurried around any beggars. And the peasants always kept their distance. That was simply the way it was. She couldn’t help but wonder if they would steal her things.

4 “Mama,” said Esperanza, stopping in the doorway. “We cannot travel in this car. It . . . it is not clean. And the people do not look trustworthy.” Esperanza saw Miguel frown as he edged around her to sit down.

5 Mama took her hand and guided her to an empty bench where Esperanza slid over next to the window. “Papa would never have had us sit here and Abuelita wouldn’t approve,” she said, stubbornly.

6 “Mija, it is all we can afford,” said Mama. “We must make do. It is not easy for me either. But remember, we are going to a place that will be better than living with Tío Luis, and at least we will be together.” The train pulled out and settled into a steady motion. Hortensia and Mama took out their crocheting. Mama was using a small hook and white cotton thread to make carpetas, lace doilies, to put under a lamp or a vase. She held up her work to Esperanza and smiled. “Would you like to learn?”


Lesson 18


L18: Analyzing Differences in Perspective 177

7 Esperanza shook her head. Why did Mama bother crocheting lace? They had no vases or lámparas to put on top of them. Esperanza leaned her head against the window. She knew she did not belong here. She was Esperanza Ortega from El Rancho de las Rosas. She crossed her arms tight and stared out the window.

8 For hours, Esperanza watched the undulating land pass in front of her. Everything seemed to remind her of what she had left behind: the nopales reminded her of Abuelita who loved to eat the prickly pear cactus sliced and soaked in vinegar and oil; the dogs from small villages that barked and ran after the train reminded her of Marisol, whose dog, Capitán, chased after trains the same way. And every time Esperanza saw a shrine decorated with crosses, flowers, and miniature statues of saints next to the rails, she couldn’t help but wonder if it had been someone’s father who had died on the tracks and if somewhere there was another girl who missed him, too.

9 Esperanza opened her valise1 to check on the doll, lifting it out and straightening her clothes. The barefoot peasant girl ran over.

10 “Mona,” she said, and reached up to touch the doll. Esperanza quickly jerked it away and put it back in the valise, covering it with the old clothes.

11 “¡Mona! ¡Mona!” said the little girl, running back to her mother. And then she began to cry.

12 Mama and Hortensia both stopped their needles and stared at Esperanza. Mama looked across at the girl’s mother. “I am sorry for my daughter’s bad manners.” Esperanza looked at Mama in surprise. Why was she apologizing to these people? She and mama shouldn’t even be sitting in this car.

13 Mama looked at Esperanza. “I don’t think it would have hurt to let her hold it for a few moments.”

14 “Mama, she is poor and dirty . . .” said Esperanza.

15 But Mama interrupted. “When you scorn these people, you scorn Miguel, Hortensia, and Alfonso. And you embarrass me and yourself. As difficult as it is to accept, our lives are different now.”

16 The child kept crying. Her face was so dirty that her tears washed clean streaks down her cheeks. Esperanza suddenly felt ashamed and the color rose in her face, but she still pushed the valise farther under the seat with her feet and turned her body away from Mama.1 valise: a small suitcase

1 Reread paragraph 12. Why does Esperanza think that she and Mama “shouldn’t even be sitting in this car”?

A She is angry at being forced to ride in a wagon that smells like guavas.

B She likes leather seats and white linens more than hard wooden benches.

C She is upset because her mother expects her to share her doll with a stranger.

D She is not used to being so close to peasants and people with less money.


Lesson 18


L18: Analyzing Differences in Perspective178

2 Reread this sentence from paragraph 16.

Esperanza suddenly felt ashamed and the color rose in her face, but she still pushed the valise farther under the seat with her feet and turned her body away from Mama.

What effect does Esperanza’s perspective have on the story?

A It creates humor by emphasizing Esperanza’s silly and selfish behavior.

B It creates suspense by raising doubt that Esperanza will ever adjust to her new life.

C It creates surprise by revealing how Mama and Esperanza really agree with each other.

D It creates dramatic irony by introducing information that the characters don’t have.

3 Which statement best describes Mama’s perspective in the story?

A Mama thinks all people, even the poor and dirty, deserve respect and compassion.

B Mama secretly agrees with Esperanza but has to act as if she likes the peasants.

C Mama regrets that she and Esperanza have to work because they are poor now.

D Mama thinks Esperanza should protect the doll because it was her father’s last gift.

4 How do the differences in perspective among Esperanza, Mama, and the reader create suspense in the story? Cite at least two details from the text to support your answer.




L9: Comparative and Superlative Adjectives and Adverbs 277L19: Figures of Speech 277

Guided Practice In each sentence, underline the pun or verbal irony. Write P for pun or VI for verbal irony. On a separate piece of paper, write your interpretation of each and share it with a partner.

Lesson 19Figures of Speech

Introduction A figure of speech uses words to achieve an effect that is different from the exact meaning of its individual words. Puns and verbal irony are two examples often used for humorous effect.

• A pun is a play on words. Sometimes a pun is humorous because it plays on different meanings of a word. Other times a pun plays on the similar sense or sound of different words. Some puns allude, or refer, to a commonly used expression.

Example Interpretation

When Alex stumbled a bit on a tree root, his brother asked, “Did you have a nice trip?”

The pun plays on two different meanings of trip: “to catch a foot on something and stumble” and “a journey.” When someone returns home from a trip, people often ask, Did you have a nice trip?

Mary said, “You may not like peas, but I think you should try them. It’s important to give peas a chance.”

The pun plays on the similar sound of the words peas and peace, and alludes to the saying, “Give peace a chance.”

You can never starve in a desert because of the sand, which is there.

The words sand which is sound like sandwiches. The similar sound makes the pun funny.

• Verbal irony is the use of words to express something that is opposite to the literal meaning, or dictionary definition, of the words.

Example InterpretationWhen he broke the glass, Ben said, “That was a great thing to do!”

Breaking a glass isn’t a great thing to do, so the humor comes from the contrast of the action with the words. Breaking a glass is actually an unfortunate thing to do.

1 Gina asked, “May I work at your bakery? I knead dough!”

2 Elias said, “Okay, slice these loaves, but be careful. Knife accidents are a grave matter.”

3 Later, Gina spilled a whole bag of flour. “Beginner’s luck!” Elias called out with a grin.

4 As she swept up the flour, Gina muttered, “This job is loads of fun!”

5 Seeing Gina coated with flour, Elias teased, ”Hey, flour girl! Where’s the wedding?”

HintTo identify verbal irony, ask yourself: Does this sentence say the opposite of what the speaker is really thinking? If it does, you may be reading an example of verbal irony.

NCSCS L.8.5a: Interpret figures of speech in context based on grade 8 reading and content.


L19: Figures of Speech278

For numbers 1–3, choose the correct meaning of the underlined verbal irony.

1 When Deval barely returns Akira’s greeting, she says, “Don't act so happy to see me!“

A Akira wants Deval to stop acting happy to see her.

B Akira would like Deval to act happier to see her.

C Akira thinks Deval is only pretending to be happy to see her.

D Akira is glad that Deval did not act happy to see her.

2 Deval is sick with flu. When Akira asks if he is okay, he mumbles, “Never been better.“

A Deval is letting Akira know he feels awful.

B Deval is letting Akira know he feels fine.

C Deval is pretending to feel much better than he really feels.

D Deval is telling Akira that he has never been well.

3 “Pity you missed the surprise math quiz!” Akira says to Deval. “Don’t be too disappointed!”

A Akira feels sorry for Deval for having missed the quiz.

B Akira wants Deval to be jealous that she took the quiz.

C Akira considers Deval lucky to have missed the quiz.

D Akira wants to encourage Deval to take the quiz later.

For numbers 4 and 5, choose the answer that explains the humorous play on words in the underlined pun.

4 Some people take steps to avoid elevators.

A “Steps” are for walking, and “elevators” are for riding.

B ”Steps” and “elevators” are both ways to go up and down.

C “Take steps” can mean both “use the stairs“ and “take action.“

D Taking an “elevator” is usually much faster than “taking steps.”

5 Time flies like an arrow, but fruit flies like an apple.

A “Fruit flies” suggests both flies that like fruit and fruit that flies.

B “Fruit flies” when it drops from a tree branch.

C When thrown, “an apple” can fly “like an arrow.”

D A fruit “like an apple” is round, but “an arrow” is thin and straight.

Independent Practice


L9: Comparative and Superlative Adjectives and Adverbs 279279L20: Analogies

Guided Practice Write a word to complete each analogy on the first line. Then write the type of analogy on the second line.

Lesson 20Analogies

Introduction An analogy shows the relationship between two pairs of words.

partial is to complete as irritate is to soothe

To understand this analogy, think about the relationship between partial and complete. Irritate and soothe are related in the same way. The words in each pair are antonyms.

Analogies often are written with colons.

• A colon (:) separates the words in each pair. The colon stands for the phrase is to.

• A double colon (: :) separates the pairs of words. It stands for the word as.

partial : complete : : irritate : soothe

is to as is to

There are many other types of analogies in addition to antonyms and synonyms. As you study the chart below, think about the relationship between the pairs of words.

Type of Analogy ExampleCause/Effect accident : injury : : tornado : damagePart/Whole platoon : army : : corridor : buildingItem/Category rocker : furniture : : lizard : reptileTool/User computer : writer : : hammer : carpenterPerson/Function physician : heals : : receptionist : greets

1 comedian : entertains : : instructor :

2 article : magazine : : zipper :

3 telescope : astronomer : : microphone :

4 hockey : sport : : helmet :

5 earthquake : destruction : : medicine :

6 gather : scatter : : reveal :

HintTo identify the relationship between the first pair of words, ask yourself questions like these: Does the first word name a person? Does the second word tell what the person does?

NCSCS L.8.4: Determine and/or clarify the meaning of unknown and multiple-meaning words or phrases . . . [using] word relationships . . .

©Curriculum Associates, LLC Copying is not permitted.280 L20: Analogies

1 verse : song : : grass :

A cultivate

B meadow

C trees

D desert

2 rain : floods : : insomnia :

A energy

B hunger

C fatigue

D overwork

3 scientist : researches : : admiral :

A commands

B admires

C marches

D follows

4 pianist : musician : : sculptor :

A artwork

B bronze

C statue

D artist

5 wrench : mechanic : : ladder :

A climbing

B firefighter

C wood

D steps

For numbers 1–5, which word correctly completes each analogy?

Independent Practice

Documents

April 23-May 6 Day 21 through Day 30 Day 21- Lesson 6 - … · 2020. 4. 21. · 20 Mama got up and followed him through the front door. The girls knew better than to go in too. 21