Introduction - MHS English III
The Scarlet Letter
Written and Compiled by:
Bethany Nelson (Marshall) and
Amy Wright (Alliance @ Marshall Night)
Edited by:
Barbara Brown
Introduc tion
The Scarlet Letter is undoubtedly an American classic, full of themes, characters, and ideas that are universal and timeless. With that in mind, we wanted to connect the novel with contemporary, relevant issues in order to engage students and encourage them to make personal and global connections. So, the emphasis of this unit is more on critical thinking and writing that will help students appreciate the important and relevant ideas the novel raises, and less on a chapter-by-chapter reading guide, though we do, of course, provide support for reading the novel. Similarly, we have not included lessons on writing: these are also covered extensively elsewhere.
This unit is unique in that it includes multiple media for a variety of resources which teachers can access depending on their students' needs. We've also included vocabulary, websites, and two tiered assessments for ELL and TAG accommodations. Because of this "choose your own adventure" style, it is impossible to gauge how long this unit would take to teach. But given that the novel is challenging, that many of the activities teach new skills, and that the final assessment has both research and analytical components, we would suggest planning on six to eight weeks. There are many activities that include research, so it will be important to reserve time in computer labs to make sure all students have equal access to technology.
We hope this curriculum creates access to this sometimes-difficult novel and provides teachers with learning opportunities, activities and assessments that they can tie into their own teaching of the text. It can be used in part or in its entirety: our aim is to provide resources and updated ideas on looking at The Scarlet Letter in the 21st century.
Planning Template The Scarlet Letter
|Priority Standards |
|11.01 Analyze and evaluate the merit of an argument by examining evidence and by comparing the evidence with information available in other sources.|
|(11.6.3) |
|11.02 Analyze an author’s unstated ideas and meanings and analyzing evidence that supports those unstated ideas. (11.6.4) |
| |
|LITERATURE |
|11.06. Demonstrate familiarity with major literary periods, authors, subjects of U.S. literature |
|11.07 Use textual evidence to develop/support an interpretation of a work from U.S. literature. (11.9.3) |
|11.12 Analyze the way in which a work of U.S. literature is related to the themes, issues, political movements, and events of its historical period.|
|(11.10.17) |
| |
|WRITING |
|11.15 Writing Modes (11.13) |
|11.15.1 Develop a thesis that takes a knowledgeable position. |
|11.15.2 Cite sources of information as appropriate. |
|11.15.5 Draw from both primary sources and secondary sources. |
|11.15.6 Draw supported inferences about the effects of a literary work on its audience. |
| |
|Understandings |Essential Questions |
|Students will understand that … |How do varying levels of religious influence on governments dictate moral |
|"Sin" has multiple meanings and treatments in different societies and |and ethical law? |
|different time periods. | |
| |How does a society’s definition of “sin” influence/affect the individual? |
|Although Nathaniel Hawthorne’s The Scarlet Letter was written more than| |
|150 years ago, it contains concepts and insights relevant to current |How do hypocrisy, conformity, and vengeance affect the characters of The |
|societal and governmental norms. |Scarlet Letter? |
| | |
|There are connections between Pearl and other "shunned" individuals in |How do these same forces affect others? |
|a variety of societies, cultures and countries. | |
| | |
|Religion, social morals and codes of ethics play important roles in | |
|countries' laws and treatment of individuals in those countries. | |
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| | |
| | |
| | |
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|Students will know... |Students will be able to... |
|The plot and characters of The Scarlet Letter. |Interpret themes, taking into account the historical setting. |
|The historical authenticity of the setting. | |
| |Analyze, make connections to, and draw conclusions about major characters in|
|What Hester’s “A” symbolizes. |The Scarlet Letter. |
| | |
|What a theocracy is and how it influences laws and how, in turn, those |Make connections between the Puritan “taboos” and current cultural taboos. |
|laws affect individuals. | |
| |Create an outline. |
| |Write an expository paper, a research-supported literary analysis, abiding |
| |by MLA guidelines. |
| | |
| |Peer review and give feedback to one another. |
| | |
|Culminating Assessment: |Other Evidence of Learning: |
| | |
|Research-supported literary analysis |Vocabulary Activities |
| |Word Wall |
| |Literature Circles |
| |Quick-Writes |
| |Writing Journals |
| |Tiered Learning Activities |
| |Compare/Contrast T-Chart Posters |
| |Peer Review |
| |Reflective Writing |
| | |
| | |
Stage 3 -- Learning Plan: The Scarlet Letter
|Lesson/Activity |Priority Standard |Page |
|Lesson #1: Essential Questions |11.02 Analyze an author’s unstated ideas and meanings and analyzing |9 |
| |evidence that supports those unstated ideas. (11.6.4) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
|Lesson #2: Pre-Assessment |11.01 Analyze and evaluate the merit of an argument by examining evidence|14 |
| |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.02 Analyze an author’s unstated ideas and meanings and analyzing | |
| |evidence that supports those unstated ideas. (11.6.4) | |
| |11.07 Use textual evidence to develop/support an interpretation of a work| |
| |from U.S. literature. (11.9.3) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
| |11.15.2 Cite sources of information as appropriate. | |
| |11.15.5 Draw from both primary sources and secondary sources. | |
| |11.15.6 Draw supported inferences about the effects of a literary work on| |
| |its audience. | |
|Lesson #3: Introducing the Reading |11.01 Analyze and evaluate the merit of an argument by examining evidence|35 |
| |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.02 Analyze an author’s unstated ideas and meanings and analyzing | |
| |evidence that supports those unstated ideas. (11.6.4) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
|Lesson #4: Building Background |11.01 Analyze and evaluate the merit of an argument by examining evidence|40 |
|Knowledge |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.02 Analyze an author’s unstated ideas and meanings and analyzing | |
| |evidence that supports those unstated ideas. (11.6.4) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
|Lesson #5: Teaching the Vocabulary of | |49 |
|The Scarlet Letter | | |
|Lesson #6: That’s So Scandalous! |11.01 Analyze and evaluate the merit of an argument by examining evidence|61 |
|Tiered Activity |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.07 Use textual evidence to develop/support an interpretation of a work| |
| |from U.S. literature. (11.9.3) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
| |11.15.1 Develop a thesis that takes a knowledgeable position. | |
|Lesson #7: What is Sin? Group Research|11.02 Analyze an author’s unstated ideas and meanings and analyzing |76 |
|and Presentation |evidence that supports those unstated ideas. (11.6.4) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. (11.10.17) | |
|Culminating Assessment: |11.01 Analyze and evaluate the merit of an argument by examining evidence|79 |
|Research-Supported Literary Analysis |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.02 Analyze an author’s unstated ideas and meanings and analyzing | |
| |evidence that supports those unstated ideas. (11.6.4) | |
| |11.06. Demonstrate familiarity with major literary periods, authors, | |
| |subjects of U.S. literature | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. | |
|Lesson #8: Student Reflection |11.01 Analyze and evaluate the merit of an argument by examining evidence|83 |
| |and by comparing the evidence with information available in other | |
| |sources. (11.6.3) | |
| |11.06. Demonstrate familiarity with major literary periods, authors, | |
| |subjects of U.S. literature | |
| |11.07 Use textual evidence to develop/support an interpretation of a work| |
| |from U.S. literature. (11.9.3) | |
| |11.12 Analyze the way in which a work of U.S. literature is related to | |
| |the themes, issues, political movements, and events of its historical | |
| |period. | |
|Resources for Scarlet Letter | |87 |
|Resources for Literature Circles | |88 |
The Scarlet Letter Academic Vocabulary
The following are academic terms widely used in this unit:
• Theme
• Correlate
• Analyze
• Literary Analysis
• Reflection
• Evaluate
• Primary and secondary sources
• Reliable resources
The following is a list of content and/or ground terminology with which your students will want to become familiar:
• Religious law
• Moral law
• Code of ethics
• Sin
• Society
• Puritan
• Self-reliance
• Scandal
• Shunning
• Hypocrisy
• Taboos
• Conformity
• Vengeance
• Dictate
• Influence
• Theocracy
• Taboo
The Scarlet Letter Lesson Plan #1: Introducing Essential Questions and Vocabulary
Duration: 90 minutes
Priority standards: Reading 11.02; Literature 11.12
Brief overview of lesson:
This lesson serves to introduce students to the essential questions and some of the essential vocabulary. Students will begin brainstorming and questioning the connection between religion and law by "rating" The Ten Commandments. Students will write a short narrative on how this theme of religion and law has influenced their lives. After this, they will begin an exploration of some of the weighted words this unit uses.
Materials needed:
Handout – “The Ten Commandments” (one for each student); 5 pieces of chart/poster paper, “Essential Questions” (one copy to hang on the wall); “Lesson 1 Vocabulary” (words and definitions for word wall)
Essential vocabulary:
Religious law, moral law, code of ethics, sin, society.
Addressing Essential Questions:
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
How do hypocrisy, conformity, vengeance, and forgiveness affect the characters of The Scarlet Letter?
How do these same forces affect others? (These last two questions will be addressed in a later lesson, but should still be posted on the wall with the other two).
Hook/Anticipatory Set:
Students will receive a copy of “The Ten Commandments”. Individually they will rank them (by numbering) from "worst sin/offense" to the "least." When students complete this, the teacher will generate a list on the board that attempts to honor the majority-ranking consensus. We suggest writing each commandment on large slips of paper and taping them to the board in the order students vote.
When this is complete, ask the students which of the commandments are actual government laws either in the U.S. or in other countries. Lead a short discussion on how some governments are largely influenced by religion and others are not allowed to be influenced by religion.
• You could use the U.S. and the removal of "God" from the Pledge of Allegiance as an example of the separation of religion and government.
• You could also use the controversial legislation in Uganda that sentences individuals accused of practicing "homosexual" activities to death.
Steps/Procedures:
1. Have the students respond to this quick-write: What does sin mean to you? Describe a time when you "sinned." Was this sin against the law, moral or ethical code, or your parent's code? What was the outcome/punishment of this "sin"?
|Warning: Tell students that you must report illegal information that they share with you; they should feel free to share, but |
|must understand your obligations. |
Give students a chance to discuss their writing as a whole class. Restrict commentary from other students while individuals are sharing, as some of the information may be emotionally charged.
2. Post the three essential questions somewhere in the room for reference throughout the unit. As you hang them on the walls, read them aloud with the class. Allow students time to ask clarifying questions. Make it clear that these questions will be very important in the weeks to come and that students are encouraged to refer back to them at any time.
Closure:
Review the vocabulary contained in the essential questions:
◦ Print each vocabulary word and its definition on a piece of poster paper for a total of five posters. Hang these around the room and have students silently walk from poster to poster and write either a comment, question, or thought on each paper.
◦ These posters can be hung on a bulletin board, as the start of a word wall.
Strategies for ELL students:
Word Wall: The closure activity provides written definitions for the ELL students; print the attached definitions and give them to ELL students BEFORE the lesson begins; this will help with the quick-write.
The Ten Commandments
From Exodus 20:1-17
_____ You shall have no other gods before me.
_____ You shall not make for yourself an idol in the form of anything in heaven above or on the earth beneath or in the waters below. You shall not bow down to them or worship them…
_____ You shall not misuse the name of the Lord your God, for the Lord will not hold anyone guiltless who misuses his name.
_____ Remember the Sabbath day by keeping it holy. Six days you shall labor and do all your work, but the seventh day is a Sabbath to the Lord your God. On it you shall not do any work, neither you, nor your son or daughter…within your gates.
_____ Honor your father and your mother, so that you may live long in the land the Lord your God is giving you.
_____ You shall not murder.
_____ You shall not commit adultery.
_____ You shall not steal.
_____ You shall not give false testimony against your neighbor.
_____ You shall not covet your neighbor's house. You shall not covet your neighbor's wife, or his manservant or maidservant, his ox or donkey, or anything that belongs to your neighbor.
The Scarlet Letter: Essential Questions
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
How do hypocrisy, conformity, vengeance, and forgiveness affect the characters of The Scarlet Letter?
How do these same forces affect others?
Vocabulary Words/definitions for the Word Wall:
Religious Law- When religion is used as a legal resource.
Moral Law- The belief of a right and a wrong.
Code of Ethics- A set of standards, rules, guidelines, and/or values that you live by.
Sin- A violation of a moral rule.
Society- A group of people grouped by mutual interests, relationships, shared institutions, and a common culture.
The Scarlet Letter Lesson Plan #2: Introduction of Standards and Unit
Pre-Assessment
Duration: 120-150 minutes
Priority standards: Reading 11.01, 11.02; Literature 11.07, 11.12; Writing 11.15.2, 11.15.5,11.15.6
Brief overview of lesson:
This lesson first introduces students to the standards embedded in the unit. As the final reflection allows students to look back on their own progress, it’s important that they have a clear understanding of the goals. The actual pre-assessment will provide information on three different skill sets: students’ ability to identify, cite and use legitimate sources appropriately, students’ ability to use textual evidence to support an argument/literary analysis, and students’ understanding of a grade-level text comparable in difficulty to The Scarlet Letter. Students will be required to read or listen to a short story, read relevant non-fiction articles, take notes on the story and/or the articles, and answer a provided prompt, using quotations from the story and research sources to support their answers. While this pre-assessment is time and labor intensive, it is the only way to effectively assess the variety of skills this unit addresses. It will also provide some background knowledge that will help students understand the historical context and relevance of The Scarlet Letter and give extensive opportunity to practice for other activities in the unit.
Materials needed:
Strips of paper with relevant standards on them; handouts including "Young Goodman Brown," “The Scarlet Letter Pre-Assessment,” Pre-Assessment Sources,” graphic organizers, “Pre-Assessment Rubric,” a highlighter for each student, and a folder for each student
Essential vocabulary:
Theme, correlate, analysis, Puritan
Addressing Essential Question(s):
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
Hook/Anticipatory Set:
Before class, make enough copies of the standards so each student has one. Randomly distribute these, then have students find a partner with the same standard. In pairs, they should rewrite the standard in everyday language and identify at least one time each that they have been taught or used this skill. Have individuals share, making sure the students understand the wording and ideas of each standard.
Steps/Procedures:
1. Give each student a folder, clearly marked with his or her own name containing the following handouts placed in the order below:
• “The Scarlet Letter Pre-Assessment”
• "Young Goodman Brown"
• Graphic organizer
• “Pre-Assessment Sources”
• “Pre-Assessment Rubric”
2. After distributing the folders, explicitly explain the purpose of this assessment: students enter the classroom with a variety of skills; you want make sure that none of them are being re-taught the skills they already own and that all of them acquire the necessary, grade-level skills. Carefully review each handout in the folders with students, especially the step-by-step directions in “The Scarlet Letter Pre-Assessment.”
• .Inform students that they will receive full credit for completing each component of the pre-assessment. There will be individual scores, but these scores are solely for informational purposes and will not affect the students’ grades.
3. After all questions are answered, students should begin reading the story. While the story is not difficult to understand, the language may be a challenge for many readers. Since the skills of this unit call for the interpretation and analysis of literature (not reading skills per se) we encourage teachers to either read the story to students as they take notes, or use some of the excellent audio versions available online including that from Librivox. ().
4. Students should complete this assignment in class.
Closure:
After scoring each student’s writing sample, we recommend conferencing with individual students (if time allows); this will give you a chance to point out what students need to focus on, or point out strengths.
Strategies for ELL students:
Listening to the story will be easier for many students
Source #3 is the most accessible; recommend this source to ELL students.
READING: 11.01 Analyze and evaluate the merit of an argument by examining evidence and by comparing the evidence with information available in other sources.
READING:11.02 Analyze an author’s unstated ideas and meanings and analyzing evidence that supports those unstated ideas.
LITERATURE: 11.07 Use textual evidence to develop/support an interpretation of a work from U.S. literature.
LITERATURE: 11.12 Analyze the way in which a work of U.S. literature is related to the themes, issues, political movements, and events of its historical period.
WRITING: 11.15.2 Cite sources of information as appropriate.
WRITING: 11.15.5 Draw from both primary sources and secondary sources.
WRITING: 11.15.6 Draw supported inferences about the effects of a literary work on its audience.
READING: 11.01 Analyze and evaluate the merit of an argument by examining evidence and by comparing the evidence with information available in other sources.
READING:11.02 Analyze an author’s unstated ideas and meanings and analyzing evidence that supports those unstated ideas.
LITERATURE: 11.07 Use textual evidence to develop/support an interpretation of a work from U.S. literature.
LITERATURE: 11.12 Analyze the way in which a work of U.S. literature is related to the themes, issues, political movements, and events of its historical period.
WRITING: 11.15.2 Cite sources of information as appropriate.
WRITING: 11.15.5 Draw from both primary sources and secondary sources.
WRITING: 11.15.6 Draw supported inferences about the effects of a literary work on its audience.
The Scarlet Letter: Pre-Assessment
Step #1: Read the prompt before you begin reading; highlight quotes that may be used in supporting your response to the prompt.
Step #2: Read the short story: “Young Goodman Brown.” Use your highlighter to highlight important quotes. Feel free to take notes and write on the text as needed.
Step #3: Choose two reliable sources from the packet labeled sources to read and use. Be careful to choose sources that will contain little bias and are from academic sites. Again- use the space next to the text to make notes and the provided graphic organizer.
Step #4: Write your response to the prompt; when you include quotes from the short story and from your chosen sources, cite them. Cite the short story by the author and page number (Hawthorne, 3); cite the sources by the number located on the first page (Source #2).
• Your paper will be scored according to the attached rubric, but you will receive full points when you complete each step of this assignment.
Prompt: Witchcraft is a predominant theme in both “Young Goodman Brown” and Salem, Massachusetts, during the 17th Century. How does Goodman Brown’s encounter with witchcraft/devil worship in this short story correlate with the historical happenings of the Puritan Era? Support your analysis with quotes from your two chosen sources and the novel.
GRAPHIC ORGANIZER
Story/Source #/Topic: ___________________________
|Quotations: |My Thoughts/Reflections/Connections |
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Young Goodman Brown
by Nathaniel Hawthorne
Young Goodman Brown came forth at sunset into the street at Salem village; but put his head back, after crossing the threshold, to exchange a parting kiss with his young wife. And Faith, as the wife was aptly named, thrust her own pretty head into the street, letting the wind play with the pink ribbons of her cap while she called to Goodman Brown.
"Dearest heart," whispered she, softly and rather sadly, when her lips were close to his ear, "prithee put off your journey until sunrise and sleep in your own bed to-night. Alone woman is troubled with such dreams and such thoughts that she's afeard of herself sometimes. Pray tarry with me this night, dear husband, of all nights in the year."
"My love and my Faith," replied young Goodman Brown, "of all nights in the year, this one night must I tarry away from thee. My journey, as thou callest it, forth and back again, must needs be done 'twixt now and sunrise. What, my sweet, pretty wife, dost thou doubt me already, and we but three months married?"
"Then God bless you!" said Faith, with the pink ribbons; "and may you find all well when you come back."
"Amen!" cried Goodman Brown. "Say thy prayers, dear Faith, and go to bed at dusk, and no harm will come to thee."
So they parted; and the young man pursued his way until, being about to turn the corner by the meeting-house, he looked back and saw the head of Faith still peeping after him with a melancholy air, in spite of her pink ribbons.
"Poor little Faith!" thought he, for his heart smote him. "What a wretch am I to leave her on such an errand! She talks of dreams, too. Methought as she spoke there was trouble in her face, as if a dream had warned her what work is to be done tonight. But no, no; 't would kill her to think it. Well, she's a blessed angel on earth; and after this one night I'll cling to her skirts and follow her to heaven."
With this excellent resolve for the future, Goodman Brown felt himself justified in making more haste on his present evil purpose. He had taken a dreary road, darkened by all the gloomiest trees of the forest, which barely stood aside to let the narrow path creep through, and closed immediately behind. It was all as lonely as could be; and there is this peculiarity in such a solitude, that the traveller knows not who may be concealed by the innumerable trunks and the thick boughs overhead; so that with lonely footsteps he may yet be passing through an unseen multitude.
"There may be a devilish Indian behind every tree," said Goodman Brown to himself; and he glanced fearfully behind him as he added, "What if the devil himself should be at my very elbow!"
His head being turned back, he passed a crook of the road, and, looking forward again, beheld the figure of a man, in grave and decent attire, seated at the foot of an old tree. He arose at Goodman Brown's approach and walked onward side by side with him.
"You are late, Goodman Brown," said he. "The clock of the Old South was striking as I came through Boston, and that is full fifteen minutes agone."
"Faith kept me back a while," replied the young man, with a tremor in his voice, caused by the sudden appearance of his companion, though not wholly unexpected.
It was now deep dusk in the forest, and deepest in that part of it where these two were journeying. As nearly as could be discerned, the second traveler was about fifty years old, apparently in the same rank of life as Goodman Brown, and bearing a considerable resemblance to him, though perhaps more in expression than features. Still they might have been taken for father and son. And yet, though the elder person was as simply clad as the younger, and as simple in manner too, he had an indescribable air of one who knew the world, and who would not have felt abashed at the governor's dinner table or in King William's court, were it possible that his affairs should call him thither. But the only thing about him that could be fixed upon as remarkable was his staff, which bore the likeness of a great black snake, so curiously wrought that it might almost be seen to twist and wriggle itself like a living serpent. This, of course, must have been an ocular deception, assisted by the uncertain light.
"Come, Goodman Brown," cried his fellow-traveler, "this is a dull pace for the beginning of a journey. Take my staff, if you are so soon weary."
"Friend," said the other, exchanging his slow pace for a full stop, "having kept covenant by meeting thee here, it is my purpose now to return whence I came. I have scruples touching the matter thou wot'st of."
"Sayest thou so?" replied he of the serpent, smiling apart. "Let us walk on, nevertheless, reasoning as we go; and if I convince thee not thou shalt turn back. We are but a little way in the forest yet."
"Too far! too far!" exclaimed the goodman, unconsciously resuming his walk. "My father never went into the woods on such an errand, nor his father before him. We have been a race of honest men and good Christians since the days of the martyrs; and shall I be the first of the name of Brown that ever took this path and kept"
"Such company, thou wouldst say," observed the elder person, interpreting his pause. "Well said, Goodman Brown! I have been as well acquainted with your family as with ever a one among the Puritans; and that's no trifle to say. I helped your grandfather, the constable, when he lashed the Quaker woman so smartly through the streets of Salem; and it was I that brought your father a pitch-pine knot, kindled at my own hearth, to set fire to an Indian village, in King Philip's war. They were my good friends, both; and many a pleasant walk have we had along this path, and returned merrily after midnight. I would fain be friends with you for their sake."
"If it be as thou sayest," replied Goodman Brown, "I marvel they never spoke of these matters; or, verily, I marvel not, seeing that the least rumor of the sort would have driven them from New England. We are a people of prayer, and good works to boot, and abide no such wickedness."
"Wickedness or not," said the traveler with the twisted staff, "I have a very general acquaintance here in New England. The deacons of many a church have drunk the communion wine with me; the selectmen of divers towns make me their chairman; and a majority of the Great and General Court are firm supporters of my interest. The governor and I, too--But these are state secrets."
"Can this be so?" cried Goodman Brown, with a stare of amazement at his undisturbed companion. "Howbeit, I have nothing to do with the governor and council; they have their own ways, and are no rule for a simple husbandman like me. But, were I to go on with thee, how should I meet the eye of that good old man, our minister, at Salem village? Oh, his voice would make me tremble both Sabbath day and lecture day."
Thus far the elder traveler had listened with due gravity; but now burst into a fit of irrepressible mirth, shaking himself so violently that his snake-like staff actually seemed to wriggle in sympathy.
"Ha! ha! ha!" shouted he again and again; then composing himself, "Well, go on, Goodman Brown, go on; but, prithee, don't kill me with laughing."
"Well, then, to end the matter at once," said Goodman Brown, considerably nettled, "there is my wife, Faith. It would break her dear little heart; and I'd rather break my own."
"Nay, if that be the case," answered the other, "e'en go thy ways, Goodman Brown. I would not for twenty old women like the one hobbling before us that Faith should come to any harm."
As he spoke he pointed his staff at a female figure on the path, in whom Goodman Brown recognized a very pious and exemplary dame, who had taught him his catechism in youth, and was still his moral and spiritual adviser, jointly with the minister and Deacon Gookin.
"A marvel, truly, that Goody Cloyse should be so far in the wilderness at nightfall," said he. "But with your leave, friend, I shall take a cut through the woods until we have left this Christian woman behind. Being a stranger to you, she might ask whom I was consorting with and whither I was going."
"Be it so," said his fellow-traveler. "Betake you to the woods, and let me keep the path."
Accordingly the young man turned aside, but took care to watch his companion, who advanced softly along the road until he had come within a staff's length of the old dame. She, meanwhile, was making the best of her way, with singular speed for so aged a woman, and mumbling some indistinct words--a prayer, doubtless--as she went. The traveler put forth his staff and touched her withered neck with what seemed the serpent's tail.
"The devil!" screamed the pious old lady.
"Then Goody Cloyse knows her old friend?" observed the traveler, confronting her and leaning on his writhing stick.
"Ah, forsooth, and is it your worship indeed?" cried the good dame. "Yea, truly is it, and in the very image of my old gossip, Goodman Brown, the grandfather of the silly fellow that now is. But--would your worship believe it?--my broomstick hath strangely disappeared, stolen, as I suspect, by that unhanged witch, Goody Cory, and that, too, when I was all anointed with the juice of smallage, and cinquefoil, and wolf's bane"
"Mingled with fine wheat and the fat of a new-born babe," said the shape of old Goodman Brown.
"Ah, your worship knows the recipe," cried the old lady, cackling aloud. "So, as I was saying, being all ready for the meeting, and no horse to ride on, I made up my mind to foot it; for they tell me there is a nice young man to be taken into communion to-night. But now your good worship will lend me your arm, and we shall be there in a twinkling."
"That can hardly be," answered her friend. "I may not spare you my arm, Goody Cloyse; but here is my staff, if you will."
So saying, he threw it down at her feet, where, perhaps, it assumed life, being one of the rods which its owner had formerly lent to the Egyptian magi. Of this fact, however, Goodman Brown could not take cognizance. He had cast up his eyes in astonishment, and, looking down again, beheld neither Goody Cloyse nor the serpentine staff, but his fellow-traveler alone, who waited for him as calmly as if nothing had happened.
"That old woman taught me my catechism," said the young man; and there was a world of meaning in this simple comment.
They continued to walk onward, while the elder traveler exhorted his companion to make good speed and persevere in the path, discoursing so aptly that his arguments seemed rather to spring up in the bosom of his auditor than to be suggested by himself. As they went, he plucked a branch of maple to serve for a walking stick, and began to strip it of the twigs and little boughs, which were wet with evening dew. The moment his fingers touched them they became strangely withered and dried up as with a week's sunshine. Thus the pair proceeded, at a good free pace, until suddenly, in a gloomy hollow of the road, Goodman Brown sat himself down on the stump of a tree and refused to go any farther.
"Friend," said he, stubbornly, "my mind is made up. Not another step will I budge on this errand. What if a wretched old woman do choose to go to the devil when I thought she was going to heaven: is that any reason why I should quit my dear Faith and go after her?"
"You will think better of this by and by," said his acquaintance, composedly. "Sit here and rest yourself a while; and when you feel like moving again, there is my staff to help you along."
Without more words, he threw his companion the maple stick, and was as speedily out of sight as if he had vanished into the deepening gloom. The young man sat a few moments by the roadside, applauding himself greatly, and thinking with how clear a conscience he should meet the minister in his morning walk, nor shrink from the eye of good old Deacon Gookin. And what calm sleep would be his that very night, which was to have been spent so wickedly, but so purely and sweetly now, in the arms of Faith! Amidst these pleasant and praiseworthy meditations, Goodman Brown heard the tramp of horses along the road, and deemed it advisable to conceal himself within the verge of the forest, conscious of the guilty purpose that had brought him thither, though now so happily turned from it.
On came the hoof tramps and the voices of the riders, two grave old voices, conversing soberly as they drew near. These mingled sounds appeared to pass along the road, within a few yards of the young man's hiding-place; but, owing doubtless to the depth of the gloom at that particular spot, neither the travellers nor their steeds were visible. Though their figures brushed the small boughs by the wayside, it could not be seen that they intercepted, even for a moment, the faint gleam from the strip of bright sky athwart which they must have passed. Goodman Brown alternately crouched and stood on tiptoe, pulling aside the branches and thrusting forth his head as far as he durst without discerning so much as a shadow. It vexed him the more, because he could have sworn, were such a thing possible, that he recognized the voices of the minister and Deacon Gookin, jogging along quietly, as they were wont to do, when bound to some ordination or ecclesiastical council. While yet within hearing, one of the riders stopped to pluck a switch.
"Of the two, reverend sir," said the voice like the deacon's, "I had rather miss an ordination dinner than to-night's meeting. They tell me that some of our community are to be here from Falmouth and beyond, and others from Connecticut and Rhode Island, besides several of the Indian powwows, who, after their fashion, know almost as much deviltry as the best of us. Moreover, there is a goodly young woman to be taken into communion."
"Mighty well, Deacon Gookin!" replied the solemn old tones of the minister. "Spur up, or we shall be late. Nothing can be done, you know, until I get on the ground."
The hoofs clattered again; and the voices, talking so strangely in the empty air, passed on through the forest, where no church had ever been gathered or solitary Christian prayed. Whither, then, could these holy men be journeying so deep into the heathen wilderness? Young Goodman Brown caught hold of a tree for support, being ready to sink down on the ground, faint and overburdened with the heavy sickness of his heart. He looked up to the sky, doubting whether there really was a heaven above him. Yet there was the blue arch, and the stars brightening in it.
"With heaven above and Faith below, I will yet stand firm against the devil!" cried Goodman Brown.
While he still gazed upward into the deep arch of the firmament and had lifted his hands to pray, a cloud, though no wind was stirring, hurried across the zenith and hid the brightening stars. The blue sky was still visible, except directly overhead, where this black mass of cloud was sweeping swiftly northward. Aloft in the air, as if from the depths of the cloud, came a confused and doubtful sound of voices. Once the listener fancied that he could distinguish the accents of towns-people of his own, men and women, both pious and ungodly, many of whom he had met at the communion table, and had seen others rioting at the tavern. The next moment, so indistinct were the sounds, he doubted whether he had heard aught but the murmur of the old forest, whispering without a wind. Then came a stronger swell of those familiar tones, heard daily in the sunshine at Salem village, but never until now from a cloud of night There was one voice of a young woman, uttering lamentations, yet with an uncertain sorrow, and entreating for some favor, which, perhaps, it would grieve her to obtain; and all the unseen multitude, both saints and sinners, seemed to encourage her onward.
"Faith!" shouted Goodman Brown, in a voice of agony and desperation; and the echoes of the forest mocked him, crying, "Faith! Faith!" as if bewildered wretches were seeking her all through the wilderness.
The cry of grief, rage, and terror was yet piercing the night, when the unhappy husband held his breath for a response. There was a scream, drowned immediately in a louder murmur of voices, fading into far-off laughter, as the dark cloud swept away, leaving the clear and silent sky above Goodman Brown. But something fluttered lightly down through the air and caught on the branch of a tree. The young man seized it, and beheld a pink ribbon.
"My Faith is gone!" cried he, after one stupefied moment. "There is no good on earth; and sin is but a name. Come, devil; for to thee is this world given."
And, maddened with despair, so that he laughed loud and long, did Goodman Brown grasp his staff and set forth again, at such a rate that he seemed to fly along the forest path rather than to walk or run. The road grew wilder and drearier and more faintly traced, and vanished at length, leaving him in the heart of the dark wilderness, still rushing onward with the instinct that guides mortal man to evil. The whole forest was peopled with frightful sounds--the creaking of the trees, the howling of wild beasts, and the yell of Indians; while sometimes the wind tolled like a distant church bell, and sometimes gave a broad roar around the traveler, as if all Nature were laughing him to scorn. But he was himself the chief horror of the scene, and shrank not from its other horrors.
"Ha! ha! ha!" roared Goodman Brown when the wind laughed at him.
"Let us hear which will laugh loudest. Think not to frighten me with your deviltry. Come witch, come wizard, come Indian powwow, come devil himself, and here comes Goodman Brown. You may as well fear him as he fear you."
In truth, all through the haunted forest there could be nothing more frightful than the figure of Goodman Brown. On he flew among the black pines, brandishing his staff with frenzied gestures, now giving vent to an inspiration of horrid blasphemy, and now shouting forth such laughter as set all the echoes of the forest laughing like demons around him. The fiend in his own shape is less hideous than when he rages in the breast of man. Thus sped the demoniac on his course, until, quivering among the trees, he saw a red light before him, as when the felled trunks and branches of a clearing have been set on fire, and throw up their lurid blaze against the sky, at the hour of midnight. He paused, in a lull of the tempest that had driven him onward, and heard the swell of what seemed a hymn, rolling solemnly from a distance with the weight of many voices. He knew the tune; it was a familiar one in the choir of the village meeting-house. The verse died heavily away, and was lengthened by a chorus, not of human voices, but of all the sounds of the benighted wilderness pealing in awful harmony together. Goodman Brown cried out, and his cry was lost to his own ear by its unison with the cry of the desert.
In the interval of silence he stole forward until the light glared full upon his eyes. At one extremity of an open space, hemmed in by the dark wall of the forest, arose a rock, bearing some rude, natural resemblance either to an alter or a pulpit, and surrounded by four blazing pines, their tops aflame, their stems untouched, like candles at an evening meeting. The mass of foliage that had overgrown the summit of the rock was all on fire, blazing high into the night and fitfully illuminating the whole field. Each pendent twig and leafy festoon was in a blaze. As the red light arose and fell, a numerous congregation alternately shone forth, then disappeared in shadow, and again grew, as it were, out of the darkness, peopling the heart of the solitary woods at once.
"A grave and dark-clad company," quoth Goodman Brown.
In truth they were such. Among them, quivering to and fro between gloom and splendor, appeared faces that would be seen next day at the council board of the province, and others which, Sabbath after Sabbath, looked devoutly heavenward, and benignantly over the crowded pews, from the holiest pulpits in the land. Some affirm that the lady of the governor was there. At least there were high dames well known to her, and wives of honored husbands, and widows, a great multitude, and ancient maidens, all of excellent repute, and fair young girls, who trembled lest their mothers should espy them. Either the sudden gleams of light flashing over the obscure field bedazzled Goodman Brown, or he recognized a score of the church members of Salem village famous for their especial sanctity. Good old Deacon Gookin had arrived, and waited at the skirts of that venerable saint, his revered pastor. But, irreverently consorting with these grave, reputable, and pious people, these elders of the church, these chaste dames and dewy virgins, there were men of dissolute lives and women of spotted fame, wretches given over to all mean and filthy vice, and suspected even of horrid crimes. It was strange to see that the good shrank not from the wicked, nor were the sinners abashed by the saints. Scattered also among their pale-faced enemies were the Indian priests, or powwows, who had often scared their native forest with more hideous incantations than any known to English witchcraft.
"But where is Faith?" thought Goodman Brown; and, as hope came into his heart, he trembled.
Another verse of the hymn arose, a slow and mournful strain, such as the pious love, but joined to words which expressed all that our nature can conceive of sin, and darkly hinted at far more. Unfathomable to mere mortals is the lore of fiends. Verse after verse was sung; and still the chorus of the desert swelled between like the deepest tone of a mighty organ; and with the final peal of that dreadful anthem there came a sound, as if the roaring wind, the rushing streams, the howling beasts, and every other voice of the unconcerted wilderness were mingling and according with the voice of guilty man in homage to the prince of all. The four blazing pines threw up a loftier flame, and obscurely discovered shapes and visages of horror on the smoke wreaths above the impious assembly. At the same moment the fire on the rock shot redly forth and formed a glowing arch above its base, where now appeared a figure. With reverence be it spoken, the figure bore no slight similitude, both in garb and manner, to some grave divine of the New England churches.
"Bring forth the converts!" cried a voice that echoed through the field and rolled into the forest.
At the word, Goodman Brown stepped forth from the shadow of the trees and approached the congregation, with whom he felt a loathful brotherhood by the sympathy of all that was wicked in his heart. He could have well-nigh sworn that the shape of his own dead father beckoned him to advance, looking downward from a smoke wreath, while a woman, with dim features of despair, threw out her hand to warn him back. Was it his mother? But he had no power to retreat one step, nor to resist, even in thought, when the minister and good old Deacon Gookin seized his arms and led him to the blazing rock. Thither came also the slender form of a veiled female, led between Goody Cloyse, that pious teacher of the catechism, and Martha Carrier, who had received the devil's promise to be queen of hell. A rampant hag was she. And there stood the proselytes beneath the canopy of fire.
"Welcome, my children," said the dark figure, "to the communion of your race. Ye have found thus young your nature and your destiny. My children, look behind you!"
They turned; and flashing forth, as it were, in a sheet of flame, the fiend worshippers were seen; the smile of welcome gleamed darkly on every visage.
"There," resumed the sable form, "are all whom ye have reverenced from youth. Ye deemed them holier than yourselves, and shrank from your own sin, contrasting it with their lives of righteousness and prayerful aspirations heavenward. Yet here are they all in my worshipping assembly. This night it shall be granted you to know their secret deeds: how hoary-bearded elders of the church have whispered wanton words to the young maids of their households; how many a woman, eager for widows' weeds, has given her husband a drink at bedtime and let him sleep his last sleep in her bosom; how beardless youths have made haste to inherit their fathers' wealth; and how fair damsels--blush not, sweet ones--have dug little graves in the garden, and bidden me, the sole guest to an infant's funeral. By the sympathy of your human hearts for sin ye shall scent out all the places--whether in church, bedchamber, street, field, or forest--where crime has been committed, and shall exult to behold the whole earth one stain of guilt, one mighty blood spot. Far more than this. It shall be yours to penetrate, in every bosom, the deep mystery of sin, the fountain of all wicked arts, and which inexhaustibly supplies more evil impulses than human power--than my power at its utmost--can make manifest in deeds. And now, my children, look upon each other."
They did so; and, by the blaze of the hell-kindled torches, the wretched man beheld his Faith, and the wife her husband, trembling before that unhallowed altar.
"Lo, there ye stand, my children," said the figure, in a deep and solemn tone, almost sad with its despairing awfulness, as if his once angelic nature could yet mourn for our miserable race. "Depending upon one another's hearts, ye had still hoped that virtue were not all a dream. Now are ye undeceived. Evil is the nature of mankind. Evil must be your only happiness. Welcome again, my children, to the communion of your race."
"Welcome," repeated the fiend worshippers, in one cry of despair and triumph.
And there they stood, the only pair, as it seemed, who were yet hesitating on the verge of wickedness in this dark world. A basin was hollowed, naturally, in the rock. Did it contain water, reddened by the lurid light? or was it blood? or, perchance, a liquid flame? Herein did the shape of evil dip his hand and prepare to lay the mark of baptism upon their foreheads, that they might be partakers of the mystery of sin, more conscious of the secret guilt of others, both in deed and thought, than they could now be of their own. The husband cast one look at his pale wife, and Faith at him. What polluted wretches would the next glance show them to each other, shuddering alike at what they disclosed and what they saw!
"Faith! Faith!" cried the husband, "look up to heaven, and resist the wicked one."
Whether Faith obeyed he knew not. Hardly had he spoken when he found himself amid calm night and solitude, listening to a roar of the wind which died heavily away through the forest. He staggered against the rock, and felt it chill and damp; while a hanging twig, that had been all on fire, besprinkled his cheek with the coldest dew.
The next morning young Goodman Brown came slowly into the street of Salem village, staring around him like a bewildered man. The good old minister was taking a walk along the graveyard to get an appetite for breakfast and meditate his sermon, and bestowed a blessing, as he passed, on Goodman Brown. He shrank from the venerable saint as if to avoid an anathema. Old Deacon Gookin was at domestic worship, and the holy words of his prayer were heard through the open window. "What God doth the wizard pray to?" quoth Goodman Brown. Goody Cloyse, that excellent old Christian, stood in the early sunshine at her own lattice, catechizing a little girl who had brought her a pint of morning's milk. Goodman Brown snatched away the child as from the grasp of the fiend himself. Turning the corner by the meeting-house, he spied the head of Faith, with the pink ribbons, gazing anxiously forth, and bursting into such joy at sight of him that she skipped along the street and almost kissed her husband before the whole village. But Goodman Brown looked sternly and sadly into her face, and passed on without a greeting.
Had Goodman Brown fallen asleep in the forest and only dreamed a wild dream of a witch-meeting?
Be it so if you will; but, alas! it was a dream of evil omen for young Goodman Brown. A stern, a sad, a darkly meditative, a distrustful, if not a desperate man did he become from the night of that fearful dream. On the Sabbath day, when the congregation were singing a holy psalm, he could not listen because an anthem of sin rushed loudly upon his ear and drowned all the blessed strain. When the minister spoke from the pulpit with power and fervid eloquence, and, with his hand on the open Bible, of the sacred truths of our religion, and of saint-like lives and triumphant deaths, and of future bliss or misery unutterable, then did Goodman Brown turn pale, dreading lest the roof should thunder down upon the gray blasphemer and his hearers. Often, waking suddenly at midnight, he shrank from the bosom of Faith; and at morning or eventide, when the family knelt down at prayer, he scowled and muttered to himself, and gazed sternly at his wife, and turned away. And when he had lived long, and was borne to his grave a hoary corpse, followed by Faith, an aged woman, and children and grandchildren, a goodly procession, besides neighbors not a few, they carved no hopeful verse upon his tombstone, for his dying hour was gloom.
Source #1
Citation: "Salem Witch Trials." Wikipedia. , 2010. Web. 22 June 2010. .
Salem Witch Trials
1876 illustration of the courtroom; the central figure is usually identified as Mary Walcott
The Salem witch trials were a series of hearings before local magistrates followed by county court of trials to prosecute people accused of witchcraft in Essex, Suffolk, and Middlesex counties of colonial Massachusetts, between February 1692 and May 1693. The episode has been used in political rhetoric and popular literature as a vivid cautionary tale about the dangers of religious extremism, false accusations, lapses in due process, and governmental intrusion on individual liberties.
Religious context
The Puritans were a number of religious groups that sprang up during the 17th century as opposition to the Church of England. Puritans opposed many of the traditions of the Church of England, notably the Book of Common Prayer, but also ceremonial rituals such as the use of priestly vestments (cap and gown) during services, the use of the Holy Cross during baptism and kneeling during the sacrament. The colony of Massachusetts at the time was heavily influenced by Puritan thought, but was not a theocracy. A few Protestants (such as Roger Williams) prior to this period had contended that this level of religious involvement in the State was contrary to the pure teachings of the New Testament, in which the church was separate from the state (Mt. 22:21; 1Cor. 5:12, 13 1 Pet. 2:13, 14), and unrepentant sinful behavior that merited serious spiritual discipline was administered by supernatural means (Acts 5:1–10; 1 Cor. 5:1–4; 1 Tim. 1:20).
In his book Memorable Providences Relating to Witchcrafts and Possessions (1689), Cotton Mather describes strange behavior exhibited by the four children of Boston mason John Goodwin and attributed it to witchcraft practiced upon them by an Irish washerwoman, Mary Glover. Mather, a minister of Boston's North Church (not to be confused with the Episcopal Old North Church of Paul Revere fame), was a prolific publisher of pamphlets and a firm believer in witchcraft.
Social context
The patriarchal beliefs that Puritans held in the community added further stresses. Women, they believed, should be totally subservient to men. By nature, a woman was more likely to enlist in the Devil's service than was a man, and women were considered lustful by nature. In addition, the small-town atmosphere made secrets difficult to keep and people's opinions about their neighbors were generally accepted as fact. In an age where the philosophy "children should be seen and not heard" was taken at face value, children were at the bottom of the social ladder. Toys and games were seen as idle and playing was discouraged. Girls had additional restrictions placed upon them and were trained from a young age to spin yarn, cook, sew, weave, serve their husbands and bear their children, while boys were able to go hunting, fishing, exploring in the forest, and often became apprentices to carpenters and smiths.
Source #2
Citation: Kizer, Kayq. "Puritans." University of Notre Dame. , n.d. Web. 22 June 2010. .
PURITANS
The Puritans believed that the Bible was God's true law, and that it provided a plan for living. The established church of the day described access to God as monastic and possible only within the confines of "church authority". Puritans stripped away the traditional trappings and formalities of Christianity which had been slowly building throughout the previous 1500 years. Theirs was an attempt to "purify" the church and their own lives.
Religious exclusiveness was the foremost principle of their society. The spiritual beliefs that they held were strong. This strength held over to include community laws and customs. Since God was at the forefront of their minds, He was to motivate all of their actions. This premise worked both for them and against them.
Each church congregation was to be individually responsible to God, as was each person. The New Testament was their model and their devotion so great that it permeated their entire society. People of opposing theological views were asked to leave the community or to be converted.
Their interpretation of scriptures was a harsh one. They emphasized a redemptive piety. In principle, they emphasized conversion and not repression. Conversion was a rejection of the "worldliness" of society and a strict adherence to Biblical principles. Actions spoke louder than words, so actions had to be constantly controlled.
Any deviations from the normal way of Puritan life met with strict disapproval and discipline. Since the church elders were also political leaders, any church infraction was also a social one. There was no margin for error.
The devil was behind every evil deed. Constant watch needed to be kept in order to stay away from his clutches. Words of hell fire and brimstone flowed from the mouths of eloquent ministers as they warned of the persuasiveness of the devil's power. Great pains were taken to warn their members and especially their children of the dangers of the world. Religiously motivated, they were exceptional in their time for their interest in the education of their children. The Bible stimulated their corporate intellect by promoting discussions of literature. Greek classics of Cicero, Virgil, Terence and Ovid were taught, as well as poetry and Latin verse. They were encouraged to create their own poetry, always religious in content.
Source #3
Citation: "Life in Salem 1692." Salem Witch Trials. , 2010. Web. 22 June 2010. .
Religion and Witchcraft
Church was the cornerstone of 17th century life in New England. Most people in Massachusetts were Puritans—colonists who had left England seeking religious tolerance. But the strict Puritan code was far from tolerant. It was against the law not to attend church—where men and women sat on opposite sides through long services. The Puritan lifestyle was restrained and rigid: People were expected to work hard and repress their emotions or opinions. Individual differences were frowned upon. Even the dark, somber Puritan dress was dictated by the church.
Since Puritans were expected to live by a rigid moral code, they believed that all sins—from sleeping in church to stealing food—should be punished. They also believed God would punish sinful behavior. When a neighbor would suffer misfortune, such as a sick child or a failed crop, Puritans saw it as God’s will and did not help.
Puritans also believed the Devil was as real as God. Everyone was faced with the struggle between the powers of good and evil, but Satan would select the weakest individuals—women, children, the insane—to carry out his work. Those who followed Satan were considered witches. Witchcraft was one of the greatest crimes a person could commit, punishable by death.
In keeping with the Puritan code of conformity, the first women to be accused of witchcraft in Salem were seen as different and as social outcasts: Tituba, a slave; Sarah Good, a homeless beggar; and Sarah Osborne, a sickly old woman who married her servant.
Fear of magic and witchcraft was common in New England, as it had been in Europe for centuries. Over 100 alleged witches had been tried and hanged in New England during the 1600s. But the hangings in 1692 Salem would be the last ones in America.
Source #4
Citation: "Salem Witch Trials Essay." Blog. Custom Writings: The Art of Relieving Student's Pain. Custome Writing Services L.L.C., 2003. Web. 22 June 2010. .
Salem Witch Trials Essay
The Salem Witch Trials, of 1692, occurred in Salem Massachusetts. This is a case where people accused other people of witchcraft. Salem was a town governed by strict Puritan religion, and to have such a charge labeled against you could cost you your life. According to Boyer and Nissenbaum, there were many worldly reasons for the events that happened so many years ago. In this essay, the authors make their findings based on scientific analysis and much historical research. Paul Boyer and Stephen argued that the Salem Witchcraft Trials took place because of the separation of the east and west, the choosing of the ministers of the church, and the agricultural and merchant interests.
Salem town was a spot for commerce in New England; those living in the east part were living well. “By contrast the farmers in the western portion of Salem Village were tied closely to traditional agrarian life” (Boyer & Nissenbaum 40). Those living on the east side wanted to close out everything but the western side. Also those people accused lived on “Ipswich Road, a route that passed by the village rather than through it, a main thoroughfare for travels and for commerce” (Boyer & Nissenbaum 40). Those who lived outside of he precepts of Puritan standards were always in danger. Anyone who dressed flamboyantly or ran a tavern could be accused. “Two tavern keepers, John Proctor and Bridget Bishop, were hung as witches; Elizabeth Proctor barely escaped with her life; and Joshua Rea, another tavern keeper on the road, signed a petition defending Goody Nurse”(Boyer & Nissenbaum 41).
According to Boyer and Nissenbaum “Their reconstruction suggest that the Salem body politic was experiencing its own social analogue of conversion hysteria”(Boyer & Nissenbaum 41). The conflicts that occurred here in Salem went from disagreements between three factions and lead to accusations of “a plague from the invisible world”(Boyer & Nissenbaum 41). The farmers of Salem were determined to stop the merchants at any costs and as a result the charge of witchcraft was applied.
Source #5
Citation: Woolf, Alan. "Witchcraft or Mycotoxin? The Salem Witch Trials." Journal of Toxicology: Clinical Toxicology 38.4 (2000): 457. General OneFile. Web. 22 June 2010.
Witchcraft or Mycotoxin? The Salem Witch Trials.
Background: The Salem witchcraft trials of 1692 have been studied by many historians looking for the complex social, political, and psychological determinants behind the community-wide hysteria that led to a travesty of justice and the deaths of 20 innocent Puritans. Recently, ergot poisoning has been put forth by some as a previously unsuspected cause of the bizarre behaviors of the young adolescent girls who accused the townsfolk of witchcraft. In this essay the circumstances behind the ergot poisoning theory for this historical event are described. When the evidence is weighed carefully both pro and con, it seems unlikely that ergotism explains much of what went on in colonial Salem.
The New England Puritans formed an insular society and intensively enforced their theocratic way of life. The autumn of 1691 was not a good harvest year for them. The previous winter had been cold. Then a wet, warm planting season was followed by a hot, stormy summer. A failed harvest had forced Salem villagers to turn to rye grain to make their bread. Thomas Putnam, a well-regarded and prosperous Salem farmer whose swampy land supplied much of the colony's rye flour, donated grain regularly to the Reverend Samuel Parris's household. By October after the poor harvest, 11-year-old Abigail Williams, the Reverend's niece, was spending time with their 2 Caribbean servants, Tituba and John Indian, who told hair-raising, yet seductive, voodoo stories to Abigail and 3 or 4 other 9-17-year-old girls. The girls were soon talking magic; they started writhing in pain, insensate with convulsive twitching, occasionally accusing fellow townsfolk of being witches who tormented them.
The Puritans lived in an era of belief in the devil as a physical being who was incarnate, there to seduce them from the path of righteousness. Bewitching was a generally recognized phenomenon in the 1600s, both in Europe as well as in Puritan New England. The devil was an invisible but very real being, whose constant tests and temptations were to be rebuffed by strict adherence to a set of laws describing behavior and societal order. The diagnosis of bewitching was both clinical and analytical. Clinically, stages of bewitching could be described. The "preliminaries" involved intense spirituality, leading to the onset of fainting and disordered speech. Intensification of symptoms was associated with visual delusions and hallucinatory confrontation with spectral witches or "familiars" (the devil presenting himself in animal forms). Occasionally, the symptoms would wax and wane, interspersed with quiet days of boredom mixed with depression. Behaviors of a bewitched person frequently included sensations of pricking, pinching, or burning of the skin; fornication; animal imitation; odd contortions; simulated flying or diving; paralysis and rigidity; anorexia; the forced consumption of invisible fluids; and physical assaults or verbal insults.
Scoring Guide for The Scarlet Letter Unit Pre-Assessment
|Priority Standard |Exceeds |Meets |Does Not Meet |
|11.01 Analyze and evaluate the merit of an |Selects and uses reliable evidence from multiple |Selects and uses reliable evidence from multiple |Does not demonstrate ability to select and use |
|argument by examining evidence and by |sources that strongly supports paper’s thesis while |sources that mostly supports paper’s thesis while|reliable sources. |
|comparing the evidence with information |fully answering prompt. |answering prompt. | |
|available in other sources. | | | |
|11.02 Analyze an author’s unstated ideas and | | | |
|meanings and analyzing evidence that supports |Demonstrates original thought and a thorough |Demonstrates an understanding of some important | |
|those unstated ideas. |understanding of important themes with evidence used|themes with evidence used in the paper. Analysis|Paper lacks original thought and quotations used |
| |in the paper. Analysis is relevant and insightful. |is relevant. |are often irrelevant. There may be |
| | | |misinterpretations. |
| | | | |
|11.12 Analyze the way in which a work of U.S. |Student clearly understands the historical context |Writing evidences knowledge of the novel’s |Writing evidences little knowledge of the novel |
|literature is related to the themes, issues, |and relevance of the novel, as evidenced in their |historical context and relevance. |or its historical/cultural context. |
|political movements, and events of its |writing and research. | | |
|historical period. | | | |
| |Makes compelling historical or cultural connections |Makes historical or cultural connections to the | |
| |to the novel. |novel. | |
|11.15.2 Cite sources of information as |Demonstrates mastery of MLA format, including |Demonstrates competence with MLA format. In-text | Sources are either not used or not cited. |
|appropriate. |in-text citations; quotations are used effectively. |citations are mostly correct; there are | |
| | |quotations which support the arguments | |
| | | | |
| |Paper weaves together text from short story, |Paper brings together text from short story, |Connections between nonfiction sources and novel |
|11.15. 5 Draw from both primary sources and |resources, and original ideas for a strong |resources, and original ideas for a reasonable |are underdeveloped. |
|secondary sources. |synthesis. |synthesis. | |
| | | |Paper may touch only briefly on the effects of |
|11.15.6 Draw supported inferences about the |Paper offers an informed, developed position about |Paper offers a developed position about effects |societal beliefs on the individual. |
|effects of a literary work on its audience. |effects of societal beliefs on the individual. |of societal beliefs on the individual. | |
The Scarlet Letter Lesson Plan #3: The Reading Schedule
Duration: Ongoing
Priority standards: Reading 11.02, 11.03; Literature 11.12
Brief overview of lesson:
The lesson is mostly for teachers to introduce the reading schedule and the daily/weekly writing they will assign the student while they are reading The Scarlet Letter.
Materials needed:
The reading and writing prompt schedule.
Addressing Essential Questions:
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
How do hypocrisy, conformity, vengeance, and forgiveness affect the characters of The Scarlet Letter?
How do these same forces affect others?
Steps/Procedures:
There are many ways you can go about implementing the reading schedule in your classroom. Whether you intend on doing the reading in-class, in literature circles, or as homework, there are materials in this guide that will assist you. The last column in the following chart, “Supplemental Lessons,” suggests activities that would correlate well with respective readings.
Strategies for ELL students:
Reading in Literature Circles can provide students with opportunities to play different roles while reading the text, thus having greater ownership of the work. Also, Sparknotes has an online version of the book that includes the original text on the left-hand side and the "modern" text on the right. You can access the online book for free at: .
Strategies for TAG students:
The supplementary questions in the reading schedule can challenge students to higher level and critical thinking.
Reading Schedule with Writing Prompts, Optional Homework and Supplemental Lessons
|Day |Chapter |Journal/Writing Prompt |Discussion Questions for Homework, In-class Writing or Challenge |Supplemental Lessons[1] |
| | | |Extensions | |
|1 |I. The Prison-Door |Describe the setting, the people surrounding the prison, and any |Concentrate on the image of the rosebush. What significance does it |Lesson 4 |
| | |other notable imagery. Given the setting, what do you think the |have and how do you think it will play in the story later on? | |
| | |story will be about? What is the tone? Why do you think that? | | |
|2 |II. The Market-Place |In this chapter, we are first introduced to the symbol “A” that is|There are many different viewpoints of the people (mostly women) in |Lesson 5 |
| | |sewed onto Hester’s clothing. What do you think this “A” |the crowd watching her. Pick one or two to discuss. Are the | |
| | |symbolizes? What is astonishing about the “A” on her bodice? |opinions presented fair and balanced? Why or why not? | |
|3 |III. The Recognition |Who do you think the stranger is that Hester recognizes in the |Describe Dimmesdale and his connection to Hester Prynne. What does | |
| | |crowd? Why do you think he cares so much about what is going on |he ask her not to reveal and why? | |
| | |in town? | | |
|4 |IV. The Interview |Why does Roger Chillingworth want to know who the father is? Why |What is the symbol that Hester attributes to him in the last part of | |
| | |does Mr. Chillngworth want Hester to keep his identity a secret? |the chapter? Do you think that this is relevant to his character? | |
| | | |Is this too harsh a symbol for him or not? Why or why not? | |
|5 |V. Hester at Her Needle |Why does Hester decide not to leave the colony? Use both textual |There is a lot of description about clothing in this | |
| | |evidence, as well as your own opinion to answer this question. |chapter—Hester’s, Pearl’s and the people she sews for. Write about | |
| | |What would you do if you were in Hester’s shoes? |the significance of the different types of clothing and embroidery in| |
| | | |this chapter? | |
|6 |VI. Pearl |How does Hester “punish” her daughter? |What do you think Pearl symbolizes? What does the scarlet letter | |
| | | |mean to Pearl? | |
|7 |VII. The Governor’s Hall |Why does Hester go and visit Governor Bellingham at his home? |What is the relationship between the scarlet letter and Pearl? | |
|8 |VIII. The Elf-child and the Minister |How much time has passed since the beginning of the novel? How |In this chapter, Dimmesdale speaks on Hester’s behalf and, |Lesson 6 |
| | |have the characters changed since then? |ultimately, saves her from more punishment for her “sins.” What kind| |
| | | |of “power” do you think Dimmesdale possesses? Where does this | |
| | | |“power” come from? | |
|9 |IX. The Leech |Who is “the leech” and why? Explain the metaphor implied by that |How do American Indians play a role in the character of Roger | |
| | |title. |Chillingworth? What is the significance of their inclusion in the | |
| | | |novel? | |
|10 |X. The Leech and His Patient |How do you feel about the relationship between Dimmesdale and |Why do you think Dimmesdale has bad health? What is keeping him | |
| | |Chillingworth? Who, if anyone, does it benefit? |alive? What is killing him? | |
|11 |XI. The Interior of a Heart |Whose heart does this chapter go into the “interior” of? What do |This chapter discusses Dimmesdale’s new-found disdain for | |
| | |you think Dimmesdale’s feelings are towards Hester at this point |Chillingworth. Why do you think Dimmesdale continues to live and be | |
| | |and how do we know? |friends with him? | |
|12 |XII. The Minister’s Vigil |Why does the Dimmesdale go back to the platform? What do you |What does the minister see in the sky that night? Looking back at the| |
| | |think has brought him to this point? |description of what he saw, is it clear that what he saw was real? | |
|13 |XIII. Another View of Hester |Hester reflects on the Dimmesdale’s sorrows and guilt in this |Hester’s “A” begins to mean other things than just “Adultery.” What |Lesson 7 |
| | |chapter. Do you think that he has been aptly punished? Whose |do you think some of the other things are? | |
| | |punishment is worse—Hester’s or Dimmesdale’s? | | |
|14 |XIV. Hester and the Physician |Chillingworth is often compared to dark forces and the “Black Man”|Why do Hester and Chillingworth pity one another? | |
| | |in the novel. Do you think that this is a fair depiction of him? | | |
| | |Why or why not? | | |
|15 |XV. Hester and Pearl |Especially in this chapter, Pearl seems to know more than what she|This quote is from Chapter 15: | |
| | |has been told. What do you think she knows and why do you think |“One little gray bird, with a white breast, Pearl was almost sure, | |
| | |she may know it? |had been hit by a pebble and fluttered away with a broken wing. But | |
| | | |then the elf-child sighed, and gave up her sport; because it grieved | |
| | | |her to have done harm to a little being that was as wild as the | |
| | | |sea-breeze, or as wild as Pearl herself.” | |
| | | |How are the bird and its fate significant to the novel? | |
|16 |XVI. A Forest Walk |Why does this scene take place in a forest? Do you think that |Describe the scene with Hester and Pearl in the sunlight. What | |
| | |this scene could have taken place in town? Why or why not? |symbolic meaning could the sunlight have? Why does sunlight shine on| |
| | | |Pearl and not on Hester? | |
|17 |XVII. The Pastor and His Parishioner |What are the major differences that Hester and Dimmesdale have |Hester had the realization early on that she could not leave the | |
| | |about the “sin” they have committed? How have both of the |colony. Why can't Dimmesdale start a new life alone as well? Do they| |
| | |characters dealt with it? |have different reasons for this choice? Explain. | |
|18 |XVIII. A Flood of Sunshine |What is the significance of Hester taking off her symbol for the |How have Hester and Dimmesdale changed in this chapter since the | |
| | |first time? What does this do to her character, Pearl and |beginning of the novel? | |
| | |Dimmesdale? | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
|19 |XIX. The Child at the Brook-Side |What are the reactions that Dimmesdale has when he meets Pearl for|Why do you think Pearl is so apprehensive and hesitant about meeting | |
| | |the first time? How would you react to meeting a new member of |the minister? | |
| | |your family for the first time? Write about the differences and | | |
| | |similarities you would have with Dimmesdale’s reactions. | | |
|20 |XX. The Minister in a Maze |Why do you think this chapter is called “The Minister in a Maze”? |The witch, Mistress Hibbins, has a small but vital role throughout |Lesson 8 |
| | |What is the “maze”? |the novel. In this chapter, she speaks with Dimmesdale about the | |
| | | |forest. Do you find this scene to be significant? How? | |
|21 |XXI. The New England Holiday |What is going on in the town and how does this affect Pearl and |How has Dimmesdale changed since the meeting in the forest? How do | |
| | |Hester? |we know about these changes? | |
|22 |XXII. The Procession |What is the tone and mood of this chapter? How is it different |Hester begins to feel uneasy and unsettled about the minister in this| |
| | |from the rest of the novel? |chapter. Explain why you think this is. | |
|23 |XXIII. The Revelation of The Scarlet |What IS the revelation of The Scarlet Letter? How do you |How do the four stand on the scaffold this last time? How is Pearl | |
| |Letter |interpret it? How has it changed throughout the course of the |changed? How do the townspeople interpret this final revelation? What| |
| | |novel? |happens to Chillingworth? | |
|24 |XXIV. Conclusion |Why does Hester return? What is the "new truth" she represents? |Does the ending resolve any questions we have about the novel? Why | |
| | | |or why not? | |
The Scarlet Letter Lesson Plan #4: Building Background Knowledge/ Beginning the Novel
Duration: 90 minutes
Priority standards: Reading: 11.01, 11.02 Literature: 11.06, 11.12,
Brief overview of lesson:
This lesson is intended to provide students with some of the background information needed to understand the historical relevance of The Scarlet Letter. This unit plan deliberately leaves out Hawthorne’s introduction, “The Custom House,” but this lesson provides the essential information presented in Hawthorne’s prologue. Students also begin reading the novel; reading the first three chapters as a class.
Materials needed:
Computer, projector, “Building Background Knowledge” power point (available online in the electronic edition of this guide and on the disc of 11th grade materials), and handouts including the “Building Background Knowledge” note-taking guide” and the “Building Background Knowledge Quiz.”
Essential vocabulary:
Puritan, sin, self-reliance, taboos, conformity, morals, influence, dictate
Addressing the Essential Question:
How do varying levels of religious influence on governments dictate moral and ethical law?
Hook/Anticipatory Set:
Charades! In order to get students excited about learning, class will begin with a simple game of charades. Write each of the essential vocabulary words (above) on a slip of paper (one word per paper). Place the slips in a box or bowl and ask for volunteers to act them out. Students may do whatever is needed to get their classmates to guess the word as long as it is done silently. Offer extra-credit or candy incentives to students who guess words correctly.
• As words are guessed, write them on the board. When charades are finished, formulate a simple definition of each word with the class and write this on the board.
• Optional: Post these words and definitions on a word wall.
Steps/Procedures:
1. Students will take notes on the “Building Background Knowledge” handout as you present the power point . Encourage students to ask clarifying questions as they read and take notes from the information on the slides.
2. Begin the novel! As a class, read the first three chapters of the novel. Allow students 5 minutes of discussion at the end of each chapter; this discussion may be framed by the discussion question found on the Reading Schedule.
3. Optional: Hold students accountable by giving them the Building Background Knowledge Quiz the following day.
Closure:
Students need to complete an exit ticket answering the following prompts:
• Write one question you have regarding the information presented/section of the novel read.
• Write one interesting thing you learned or read.
Strategies for ELL students:
Create a handout for ELL students before class with the essential vocabulary words and their definitions.
Give ELL students a copy of the Sparknotes summary to refer to as they read for clarification.
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The Scarlet Letter: Building Background Knowledge
|Nathaniel Hawthorne: |
|American novelist and short story writer, most famous for his novel The Scarlet Letter. |
|He wrote during the Romantic period of literary history (1830-1865) along with _________________________, Henry David Thoreau, _________________________, |
|Harriet Beecher Stowe and _________________________. |
|The introductory chapter to The Scarlet Letter is called “The Custom House”. |
|Insufficient earnings as a writer forced Hawthorne to take a job in the ___________________________________. |
|Nathaniel Hawthorne tells of his time as a clerk in the Salem, MA Government Custom House. |
|He claims to have found a letter written by Hester Prynne (the novel’s main character) and an embroidered scarlet “A”. The letter tells of Hester’s |
|experiences, which Hawthorne relates in the novel. |
|The novel is NOT based in historical fact, but Hawthorne uses “The Custom House” to give his story credibility. |
|Puritans: |
|A member of a 16th and 17th century Protestant group in England and New England opposing as unscriptural the ceremonial worship and the prelacy of the |
|Church of England |
|One who practices or preaches a more rigorous or professedly purer moral code than that which prevails. |
|Puritan culture emphasized: |
|Self-reliance |
|______________________________________ |
|Individual achievement |
|Individual responsibility |
|Personal accountability |
|_______________________________________ |
| |
|Virtually any offense could land you in the pillory, or stocks. The Puritans imported this |
|punishment to New England from England. The purpose was public display and public |
|humiliation |
Building Background Knowledge Quiz
1. Name one other author who wrote during the same time period as Nathaniel Hawthorne.
2. Where does the basis of the story for The Scarlet Letter come from? *Hint: it’s a document Nathaniel Hawthorne found.
3. What are two of the basic beliefs/laws of a Puritan?
4. In what time period did the Puritans live?
5. In what time period did Nathaniel Hawthorne live?
The Scarlet Letter Lesson #5: Teaching Vocabulary-You Choose
Duration: Ongoing
Priority standards: 11.14
Brief overview of lesson:
This lesson introduces the teacher and the student to the relatively difficult vocabulary of The Scarlet Letter. Since there are multiple ways to teach vocabulary and integrate it into the reading schedule; this lesson serves as merely a resource to teachers. Here, you will find a list of vocabulary words (more than you would want to actually use in your classroom, so make sure to go through them and choose which ones you would like to focus on) that occur in the book and a list of suggestions as to how to teach the vocabulary to your students. This resource is from the site The English Teacher, created and maintained by retired teacher Leif Danielson. The site can be found at .
If you can get the Norton Critical Edition of The Scarlet Letter, a lot of the vocabulary is defined in footnotes throughout the text and is helpful for both the teacher and the student.
Materials needed:
“Vocabulary for The Scarlet Letter,” computers, dictionaries
Steps/Procedures:
The vocabulary of the novel can be taught in several ways. Here are some suggestions:
o Vocabulary Posters: Created by students
o Word Wall: A literacy tool used as part of a reading instruction program. Designate one wall (or part of a wall) in the classroom for displaying commonly used vocabulary and/or sight words in large print so that all students can read the words from their desks. The students can then refer to the wall during literacy exercises.
o Quizzes/Tests
o Students find meanings using context clues, their knowledge of root words, or other means
o Vocabulary Stories: There is a form for this activity at
o Electronic Class Dictionary using Wikipedia, Googledocs, and similar sites. This option is great for teachers who already have websites, blogs and/or discussion boards up for their classes. Students could either identify the vocabulary in the novel and/or post the definition straight onto the web. For teachers who do not have a website but who would like to attempt some type of electronic class dictionary, there are good host sites to try like: , , , and .
Strategies for ELL students:
All of these strategies address the needs of ELL students in the classroom, especially if they add more vocabulary to the list given.
Strategies for TAG students:
TAG kids could help set up, monitor and manage the electronic class dictionary.
Vocabulary for The Scarlet Letter
(from )
CHAPTER ONE
( THRONG: a great number of persons crowded together.
( EDIFICE: a large, usually impressive building.
( UTOPIA: a place or state of political or social perfection. Comes from a novel by Sir Thomas Moore about a perfect society.
( SEASONABLE: timely or opportune.
( SEPULCHRES: a burial vault built of rock or stone.
( PONDEROUS: weighty or clumsy.
( CONGENIAL: pleasant, friendly.
( INAUSPICIOUS: not prosperous.
( PORTAL: a doorway of imposing appearance.
CHAPTER TWO
( PHYSIOGNOMIES: the facial features held to show qualities of mind or character by their configuration or expression.
( AUGURED: foretold.
( BETOKENED: given evidence of.
( TRIBUNAL: a court of forum of justice.
( INFERENCE: the act of passing from one proposition, statement, or judgment considered as true to another whose truth is believed to follow from that of the former.
( INDUBITABLY: unquestionably.
( ANTINOMIAN: one who rejects a socially established morality.
( HETERODOX: holding unorthodox opinions or doctrines.
( SCOURGED: to subject to severe criticism or satire.
( FIREWATER: strong alcoholic beverage.
( MAGISTRATE: a local official exercising administrative and often judicial functions.
( GALLOWS: the punishment of hanging.
( VENERABLE: made sacred especially by religious or historical association.
( MEAGRE: lacking desirable qualities; meager.
( TRANSGRESSOR: violator.
( SCAFFOLD: a platform on which a criminal is executed.
( INFAMY: evil reputation brought about by something grossly criminal, shocking, or brutal.
( IMPROPRIETY: the quality or state of being improper.
( FARTHINGALE: a support worn in the 16th century beneath a skirt to expand it at the hip line.
( FIBRE: basic toughness.
( ROTUNDITY: rounded.
( BEHOOF: advantage, profit.
( MALEFACTRESSES: a person who violates the law or does evil.
( TROW: believe.
( AUTUMAL: a period of maturity or incipient decline.
( BAGGAGE: a worthless or contemptible woman; prostitute.
( HEATHENISH: barbarous.
( BEADLE: a minor parish official whose duties include ushering and preserving order at services and sometimes civil functions.
( ABASHED: to destroy the self-confidence of.
( SUMPTUARY: designed to regulate habits on moral or religious grounds.
( GENTILITY: the members of the upper class.
( EVANESCENT: tending to vanish like vapor.
( IGNOMINY: disgraceful or dishonorable conduct, quality, or action.
( BRAZEN: marked by contemptuous boldness.
( HUSSY: a saucy or mischievous girl.
( MERIDIAN: midday; noon.
( INIQUITY: wickedness.
( VISAGE: appearance.
( SPURN: stumble.
( PILLORY: a means to expose one to public scorn and humility.
( FLAGRANT: extremely or purposefully conspicuous usually because of uncommon objectionable or evil.
( MIEN: appearance; aspect.
( VIED: exchanged in rivalry.
( CONTUMELY: rude language or treatment arising from haughtiness and contempt.
( COUNTENANCES: looks; expressions.
( PRETERNATURAL: exceeding what is natural or regular.
( HEWN: strictly conformed.
( PHANTASMAGORIC: a scene that constantly changes.
( REMONSTRANCE: objection.
( CLOISTER: an area within a monastery or convent to which the religious are normally restricted.
( ETYMOLOGIST: studies word derivation.
CHAPTER THREE
( ABATE: put an end to.
( INTERVOLUTIONS: The state of being intervolved or coiled up.
( SOJOURN: a temporary stay.
( INIQUITY: wickedness.
( MARRY: to express amused or surprised agreement.
( PERADVENTURE: perhaps.
( HALBERDS: a weapon consisting typically of a battle ax and pike mounted on a handle about 6 feet long.
( SAGACITY: of keen mind: shrewd.
( OBSTINACY: fixed and unyielding; stubborn.
( ALBEIT: although.
( FERVOR: intensity of feeling or expression.
( LURID: gruesome; sensational.
( GARB: clothing.
( IGNOMINOUS: shameful.
CHAPTER FOUR
( SAGAMORES: a subordinate chief of the Algonquian Indians of the north Atlantic coast.
( AMENABLE: willing to yield or submit: agreeable.
( PEREMPTORY: leaving no opportunity for denial or refusal.
( ALCHEMY: a power or process of transforming something common into something precious.
( INQUEST: inquiry, investigation.
( AUGHT: nothing.
( PARAMOUR: an illicit lover.
( WOTTEST: to have knowledge of or to know.
CHAPTER FIVE
( VIVIFY: to endure with life or renew life: animate.
( CLAUSE: a separate section of a discourse or writing.
( ASSIMILATE: to absorb into the cultural tradition of a population or group.
( TINGE: an affective or modifying property or influence: touch.
( UNCONGENIAL: unfriendly.
( THATCHED: a house used as a sheltering cover made of a plant material.
( FAIN: rather.
( PROGENITORS: an ancestor in the direct line: forefather.
( PLEBEIAN: one of the common people.
( EMOLUMENT: advantage.
( COMMISERATION to feel or express sympathy: condole.
( CONTUMACIOUSLY: stubbornly disobedient: rebellious.
( TALISMAN: something producing apparently magical or miraculous effects.
CHAPTER SIX
( EFFICACY: effective as a means of remedy.
( RUSSET: a coarse brownish homespun cloth.
( IMBUED: inspired as with feelings, opinions, etc.
( MUTABILITY: subject to change.
( EPOCH: a point in time marked by the beginning of anew development or state of things.
( REGIMEN: to organize.
( CAPRICE; a sudden, impulsive change: whim.
( SMOTE: having struck something.
( DEARTH: scarcity, lack, or famine.
( GESTICULATION: expression through gestures.
( LABYRINTH: any intricate or perplexing set of difficulties: maze.
( AMENABLE: agreeable.
( NURTURE: care for; raise up.
( ENMITY: established hatred.
( PATERNITY: father.
CHAPTER SEVEN
( EMINENCE: position of prominence or superiority.
( INTRINSIC: originating or situated within the body or part acted on.
( IMPERIOUS: commanding; dominant.
( WAN: pale or sickly.
( PALLID: deficient in color: dull.
( DAUNTLESS: fearless, undaunted.
( EXTANT: not destroyed or lost.
( CABALISTIC: esoteric doctrine or mysterious art.
( CAPER: a gay, bounding leap.
( FLANKED: to be situated on the side: border.
( FORSOOTH: indeed.
( EMBOWED: arched.
( FOLIO: a book of the largest size.
( TOME: a volume forming part of a larger work.
( GILDED: to overlay with or as if with a thin covering of gold.
( BURNISHED: polished.
( PANOPLY: full suit of armor.
( MUSTER: formal military inspection.
( EXIGENCES: a state of affairs that makes urgent demands.
( PHYSIOGNOMY: facial features held to show quality of mind or character by their configuration or expression.
( RELINQUISH: leave behind.
( ANNALS: historical records: chronicles.
CHAPTER EIGHT
( EXPATIATING: enlarging in discourse or writing.
( ANTIQUATE: obsolete.
( UNFEIGNEDLY: not pretending.
( BEHEST: an earnest request.
( BEDIZEN: to dress n a gaudy or vulgar manner.
( PIOUS: of or pertaining to religious devotion.
( IMBIBES: to take or receive into the mind.
( AMISS: improper.
( INDEFEASABLE: not to be annulled or made void.
( EMACIATED: to make very thin, as to lack of nutrition or to disease.
( MOUNTEBANK: any charlatan or quack.
( BOON: a favor sought.
( ADDUCED: to bring forward as in argument or as evidence.
( VEHEMENCE: forceful or violent.
( UNOBTRUSTIVE: not conspicuous.
( CHARGER: plate or platter.
CHAPTER NINE
( APPELLATION: an identifying name or title.
( CONTAGION: the spread as of an idea, emotion, etc.
( CHIRURGICAL: surgical.
( COUNTENANCE: to extend approval or toleration of.
( PARISHONER: a member or inhabitant of a parish.
( PROPOUND: to offer up for discussion or consideration.
( SAGACITY: the quality of keen and farsighted penetration and judgment.
( ERUDITION: extensive knowledge acquired chiefly from books.
( COMMODIOUSNESS: comfortable or conveniently spacious: roomy.
( INCANTATIONS: a use of spells or verbal charms spoken or sung as a part of a ritual of magic.
( BLACK ART: made practiced by or as if by conjurers and witches.
( CONJURER: someone who calls up spirits or ghosts: magicians.
( SANCTITY: Godliness or sacredness.
( EMISSARY: messenger.
( DIABOLIC: devilish.
CHAPTER TEN
( SEXTON: an official charged with maintaining church property.
( INIMICAL: having the disposition of an enemy: hostile.
( ASKANCE: with a side-glance: obliquely.
( PERFORCE: by force of circumstances.
( BRETHREN: fellow members of a profession, society, or sect; plural of brothers.
( PROPAGATE: publicize.
( ABASEMENT: to lower in rank, office, prestige, or esteem.
( SOOTH: truth, reality.
( ARMORIAL: of, relating to, or bearing heraldic arms.
( DECOROUSLY: marked by propriety and good taste: correct
( IMP: a small demon: fiend.
( MIRTH: gladness or gaiety as shown by or accompanied with laughter.
( PALLIATE: to cover by excuses or apologies.
( ASSENTED: to agree to something.
( SOMNIFEROUS: hypnotic.
( VESTMENT: an outer garment; a robe of ceremony or office.
( PEITY: reverence to God.
CHAPTER ELEVEN
( LATENT: present and capable of becoming though not now visible or active: dormant.
( BALKED: to stop short and refuse to proceed.
( ODIOUS: exciting or deserving hatred or repugnance.
( MACHINATION: a scheming or crafty action or artful design intended to accomplish some usually evil end.
( ETHEREALIZED: celestially.
( ATTESTATION: to be proof of: manifest.
( AVOWAL: an open declaration or acknowledgement.
( VENERATION: commanding respect because of great age or associated dignity.
CHAPTER TWELVE
( SOMNAMBULISM: sleepwalking.
( EXPIATION: to atone for; to make amends for.
( DEFUNCT: dead or inactive.
( ARCHFIEND: a chief fiend: Satan.
( SCURRILOUS: grossly and offensively abusive.
( TUMULT: a turbulent uprising: riot.
( AWRY: out of right or hoped-for cause.
( FIRMAMENT: the vault or arch of the sky: heavens.
( MALEVOLENCE: arising from intense or vicious ill will, spite, or hatred.
( ERUDITE: possessing or displaying erudition; learned.
( REPLETE; fully or abundantly provided or filled: complete.
CHAPTER THIRTEEN
( PAUPER: a very poor person.
( GIBE: to tease with taunting words.
( MEED: a fitting return or recompense.
( DESPOTS: a ruler with absolute power and authority.
( FOLIAGE: a cluster of leaves, flowers, and branches.
( SEMBLANCE: outward and often specious appearance or show.
( IMBIBED: to receive into the mind and retain.
( OBVIATED: to see beforehand and dispose of; making unnecessary.
( ETHEREAL: celestial, heavenly.
( CLEW: clue.
( CHASM: a marked division, separation, or difference.
( LUNACY: wild foolishness; insanity.
( ACQUIESCING: to accept or comply tacitly or passively.
CHAPTER FOURTEEN
( WIRY: lean and strong.
( BEHEST: an earnest request.
( RANKLE: to cause persistent keen irritation or bitter resentment.
( PROPINQUITY: nearness in place or time.
( USURP: to seize and hold (a position, power, etc.) by force or without legal right.
( RETRIBUTION: punishment given in return for some wrong committed; judgment.
CHAPTER FIFTEEN
( SERE: withered.
( VERDURE: condition of health and vigor.
( SEDULOUS: diligent in application or pursuit.
( HORNBOOK: a child's reading book consisting of a sheet of parchment or paper protected by a sheet of transparent horn.
( PETULANT: insolent or rude in speech or behavior.
( PRECOCITY: exhibiting mature qualities at an unusually early age.
( ACRID: deeply or violently bitter.
( ENIGMA: something hard to understand or explain: mystery.
( PROPENSITY: an intense and often urgent natural inclination.
( BENEFICENCE: an office to which the revenue from an endowment is attached: fief.
( VIVACITY: being lively in temper or conduct: sprightly.
( TALISMAN: something producing apparently magical or miraculous effects.
( ASPERITY: roughness of manner or of temper: harshness.
( UPBRAIDED: criticized.
CHAPTER SIXTEEN
( SCINTILLATING: to be brilliant or keen, as in talent.
( SCROFULA: a form of tuberculosis.
( LOQUACITY: exceedingly talkative.
( STREAMLET: a small stream.
( PRATTLE: to talk in a foolish or simpleminded way.
CHAPTER SEVENTEEN
( SPECTRE: something that haunts or perturbs the mind; specter.
( MALEVOLENT: having, showing, or arising from intense often vicious ill will, spite, or hatred.
( CONTIGUITY: the quality or state of next or near in time or sequence.
( MISANTHROPY: a hatred or distrust of mankind.
( INVIGORATED: to give life and energy to; animate.
( RECOIL: to fall back under pressure.
( CONSECRATION: the act of making or declaring sacred.
( SATIATING: to satisfy fully.
( SENTINEL: one that watches or guards.
( BUDY: to support or sustain.
( TARRY: stay, sojourn.
CHAPTER EIGHTEEN
( COLLOQUY: a conversation especially formal one.
( AMISS: out of proper order: wrong.
( TRAMMELLED: something that restricts activity or free movement: hindrance.
( CITADEL: a stronghold.
( HEATHEN: an irreligious, uncivilized, or unenlightened person.
( SUBJUGATED: to bring under dominion: conquer.
( DENIZENS: an inhabitant: resident.
( CHOLERIC: bad tempered; irritable.
CHAPTER NINETEEN
( ACCOSTING: address, greeting.
( PRATTLE: to utter meaningless sounds suggestive of the chatter of children: babble.
( INURED: accustomed to accept something undesirable.
( MOLLIFIED: soothed in temper or disposition.
( GESTICULATING: making gestures especially when speaking.
( PRETERNATURAL: existing outside of nature: abnormal
( ALLOY: to reduce the purity of by mixing with something debasing.
CHAPTER TWENTY
( VICISSITUDE: unexpectedly changing circumstances.
( ANTIQUITY: the quality of being ancient.
( SOLACE: comfort in sorrow.
( INTROSPECTION: the examination of one's own mental and emotional state.
( IRREFRAGABLE: not to be disputed or contested.
( UNCOUTH: awkward of clumsy.
( WEATHERCOCK: a weather vane in the shape of a rooster.
( MUTABILITY: being liable or subject to change.
( COMPORT: to conduct or behave.
( OBEISANCE: a bodily gesture, as a bow, expressing respect.
( ENSHRINED: preserved or cherished as sacred.
( GRANDAM: old woman: grandmother.
( AUGHT: at all.
( PITHY: having substance and point.
( GILD: to give an attractive but often deceptive appearance to.
( TARRY: stay, sojourn.
( POTENTATE: one who wields controlling power.
( GRATUITOUS: without apparent reason or justification.
( DELL: a secluded hollow or small valley usually covered with trees or turf.
( REQUITE: to make return for: repay.
( STEED: a spirited horse for state or war.
CHAPTER TWENTY-ONE
( BETIMES: at times: occasionally.
( PLEBIAN: one of the common people.
( QUAFF: to drink (a beverage) deeply.
( WORMWOOD: something bitter and grievous: bitterness.
( LEES: the settling of liquor during fermentation and aging: dregs.
( EFFERVESCE: to show liveliness or exhilaration.
( MIRTH: gladness or gaiety as shown by or accompanied with laughter.
( QUARTERSTAFF: a long stout staff formerly used as a weapon and wielded with one hand in the middle and the other between the middle and the end.
( BUCKLER: a shield worn on the left arm.
( BROADSWORD: a sword with a broad blade for cutting rather than thrusting.
( SCRUPLE: an ethical consideration or principle that inhabits action.
( QUAFFING: dinking (a beverage) deeply.
( TEMPESTOUS: turbulent, stormy.
( PROBITY: adherence to the highest principles and ideals: uprightness.
( UNBENIGNANTLY: acting in a way that is not favorable or beneficial.
( ANIMADVERSION: adverse and typically ill-natured or unfair criticism.
( GALLIARD: gay, lively.
( BERTH: safe distance.
CHAPTER TWENTY-TWO
( CLARION: a medieval trumpet with clear shrill tones.
( MERCENARY: one that serves merely for wages.
( MORION: high-crested helmet with no visor.
( NECROMANCY: magic, sorcery.
( PATHOS: an emotion of sympathetic pity.
( GRADATIONS: a series forming successive stages.
( ORB: something circular: circle, orbit.
( INDEFATIGABEL: incapable of being fatigued: untiring.
( REQUITAL: something given in return, compensation, or retaliation.
( SWARTHY: being of a dark color, complexion, or cast.
( SMITE: to attack or afflict suddenly and injuriously.
( UNSCRUPULOUS: unprincipled.
( SURMISE: to imagine or infer on slight grounds.
( STIGMA: a mark of shame or discredit: stain.
CHAPTER TWENTY-THREE
( ORACLES: a person (as a priest) through whom a deity is believed to speak.
( WROUGHT: deeply stirred: excited.
( APOTHEOSIS: elevation to divine status.
( INTIMATIONS: the act of making known: announce.
CHAPTER TWENTY-FOUR
( CONJECTURE: a conclusion deduced by surmise or guesswork.
( NECROMANCER: a person who is believed to communicate with the spirits of the dead for purposes of magically revealing the future of influencing the course of events.
( PORTENT: something that foreshadows a coming event: omen.
( NUGATORY: having no force: inoperative.
( BEQUEATHED: to hand down: transmit.
( RECLUSE: marked by withdrawal from society: solitary.
( PENITENCE: regret for sin or wrongdoing.
( ESCUTCHEON: a protective or ornamental shield.
( SABLE: the color black: dark.
( GULES: the heraldic color red.
The Scarlet Letter Lesson #6: That’s Scandalous!
Duration: 90-120 minutes
Priority standards: Reading: 11.01; Literature: 11.07, 11.12; Writing: 11.15
Brief overview of lesson:
This lesson is an extended project intended to offer students an assignment that challenges them at their individual knowledge/skill levels. There are three leveled project options: based on the results from the pre-assessment, place students in the level that reflects the skills they are lacking or hold. This project offers practice in research, using and creating MLA citations, and using evidence to support an analysis or argument, while directly addressing the unit’s essential questions. The lesson assumes that students have been taught researching skills, but if students need a lesson on how to locate, evaluate, and synthesize appropriate sources, please refer to the “Research” section of the PPS Writing Craft Lessons packet. Students will briefly research the “sins” of various contemporary characters, write about society’s responses to their actions, and created a visual symbol to represent their character’s situation.
Materials needed:
“Scandalous People” photos to put up around the room; copies of the “That’s Scandalous!” project descriptors; graphic organizers (for Group 1 only); computers with internet for each student, and art materials including construction paper, magazines, markers, and any other supplies that will be helpful in making a creative, colorful, paper letter.
Essential vocabulary:
Scandal, shunning, hypocrisy, conformity, vengeance
Addressing Essential Questions:
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
How do hypocrisy, conformity, and vengeance affect the characters of The Scarlet Letter?
How do these same forces affect others?
Hook/Anticipatory Set:
1. Before class begins hang the “Scandalous People” pictures on the walls of your room. As students come in, ask them to tour the photos and silently determine what they all have in common; when students have come to their conclusion, they should write their answers; collect them. Read the answers aloud (anonymously). We recommend awarding an edible or extra-credit prize to the student with the most accurate answer and the student with the most creative answer.
2. Ask students to discuss why these particular images of the individuals were chosen and published. They may notice editorial biases in the visual imagery.
3. Explain that these photos are all of individuals who have been shunned for their actions. While what they did was not necessarily against the law (as adultery was in the 17th century), these people all wear an invisible label. Their transgressions are often displayed on television, in magazines, and newspapers, similar to Hester Prynne’s time on the platform.
Steps/Procedures:
1. Inform students that they will all be required to complete a project individually, but they will be grouped into three different categories. The directions in their project folders will be specifically aimed at their skill sets.
• Group 1: Students who did not meet the standards it the pre-assessment.
• Group 2: Students who meet the standard.
• Group 3: Students who meet or exceed the standards.
2. Have students complete the assignment.
Closure:
Optional: Have students share their letters with the class. This can be a formal presentation and follow your classroom’s presentation protocol or can be a short, informal pair-share.
Strategies for ELL students:
ELL students should complete the activity designed for Group 1.
Strategies for TAG students:
TAG students should complete the activity designed for Group 3.
There is an option for students to identify and research their own “shunned” individual.
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THAT’S SCANDALOUS! - Group #1
This project has three different parts which need to be completed in order. Read these directions carefully and hold on to them! You will be referring to them throughout your progress.
Part 1 - Research: Choose your “shunned individual” and research them! Follow the very specific guidelines:
• Using the GALE Database, Google Scholar, or another scholarly website (NO Wikipedia or .com’s) find two sources that explain, in detail, why and how your individual has been shunned by society. Print these sources to reference later for quotes and information.
• Create a “Works Cited” page. Go to: and follow the instructions closely. Sources must be listed alphabetically and the page must be titled “Works Cited.”
Part 2 - Writing:
• Complete the attached graphic organizer.
• Use your organizer to help you write a short, three section essay about your shunned individual. Each section in the graphic organizer should be a section in your writing:
o Section 1: Reasons people are shunned today vs. how why they were shunned in Hester Prynne’s lifetime.
o Section 2: A description of your individual and what he or she has done to be shunned by society.
o Section 3: A concluding paragraph explaining how Hester and your individual are similar/different. End with one lasting observation on how times have changed or remained the same.
Part 3 – Visual Representation: You will choose a letter to symbolize the individual’s transgressions, or frowned-upon actions. This letter must symbolize the person’s “sin.”
• For example: John Lennon was ostracized for saying that he and The Beatles were “bigger than God.” His letter could be an “E” for “ego;” this letter could be decorated with pictures of Jon Lennon’s head.
•
• Choose one of the following individuals:
• Monica Lewinsky
Bill Clinton
Marilyn Manson
Karl Marx
Josef Stalin
Benito Mussolini
Ho Chi Minh
Rasputin
Dennis Rodman
Kim Sung
Fidel Castro
Mao Tse-Tung
Mike Tyson
Michael Jackson
Camilla Parker Bowles
Francisco Franco
Tiger Woods
Marie Antoinette
That’s Scandalous!
Group 1 Graphic Organizer
Section 1:
|Reasons people are shunned (today): |Reasons people were shunned (in the 17th Century): |
|Ex: Some drug addictions (Meth, Cocaine) |Ex: A lack of (Christian) religious faith. |
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Section 2:
|Your chosen person’s actions: |How Society has reacted: |
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Section 3:
|Similarities between your individual and Hester: |Differences between your individual and Hester: |
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THAT’S SCANDALOUS! - Group #2
This project has three different parts, which need to be completed in order. Read these directions carefully and hold on to them! You will be referring to them throughout your progress.
Part 1 - Research: Choose your “shunned individual” and research him or her! Follow the very specific guidelines:
• Using the GALE Database, Google Scholar, or another scholarly website (NO Wikipedia or .com’s) find three sources that explain, in detail, why and how your individual has been shunned by society. Print these sources to reference later for quotes and information.
• Create a “Works Cited” page. Use your Write Source book or the website: to create the citations and find the proper format.
Part 2 - Writing:
Write an analysis on the following prompt:
Hester was required to stand on a platform and wear a scarlet letter to declare her shame to the community. While this sort of “punishment” may not happen today, society still finds a way to deliver a sentence to those who have transgressed. Write a short three to five paragraph essay discussing the ways modern society punishes individuals, using yours as the primary example. Embed quotations from your research.
Part 3 – Visual Representation: You will choose a letter to symbolize the individual’s transgressions, or frowned-upon actions. This letter must symbolize the person’s “sin” both visually and literally.
For example: John Lennon was ostracized for saying that he and The Beatles were “bigger than God.” His letter could be an “E” for “ego;” this letter could be decorated with photos of other individuals who are known for their over-inflated ego.
Choose one of the following individuals:
Monica Lewinsky
Bill Clinton
Marilyn Manson
Karl Marx
Josef Stalin
Benito Mussolini
Ho Chi Minh
Rasputin
Dennis Rodman
Kim Sung
Fidel Castro
Mao Tse-Tung
Mike Tyson
Michael Jackson
Camilla Parker Bowles
Gary Condit
Francisco Franco
Tiger Woods
Marie Antoinette
THAT’S SCANDALOUS ! - Group #3
This project has three different parts, which need to be completed in order. Read these directions carefully and hold on to them! You will be referring to them throughout your progress.
Part 1 - Research: Choose your two “shunned” individuals from the list below and research them! The people you choose must be from two different countries. Follow the very specific researching guidelines:
• Using the GALE Database, Google Scholar, or another scholarly website (NO Wikipedia or .com’s) find two sources for each individual that explain, in detail, why and how your individual has been shunned by their society. Print these sources to reference later for quotes and information.
• Create a “Works Cited” page. Use your Write Source book or the website: to create the citations and find the proper format.
Part 2 - Writing:
Write an analysis on the following prompt:
Shame and sin is viewed in a variety of ways in different countries and cultures: Hester did something that is very common in America today, but is still considered a crime in some Middle Eastern cultures. You will compare and contrast these differences in perspective. Relying extensively on quotations from your novel and your four sources, explain how the different cultural perceptions of sin have affected your two shunned individuals and Hester Prynne.
Part 3 – Visual Representation: You will choose a letter to symbolize one of your individuals’ transgressions, or frowned-upon actions. This letter must symbolize the person’s “sin” both visually and literally.
For example: John Lennon was ostracized for saying that he and The Beatles were “bigger than God.” His letter could be an “E” for “ego;” this letter could be decorated with photos of other individuals who are known for their over-inflated ego.
Choose one of the following individuals:
Monica Lewinsky
Bill Clinton
Marilyn Manson
Karl Marx
Josef Stalin
Benito Mussolini
Ho Chi Minh
Rasputin
Dennis Rodman
Kim Sung
Fidel Castro
Mao Tse-Tung
Mike Tyson
Michael Jackson
Camilla Parker Bowles
Gary Condit
Francisco Franco
Tiger Woods
Marie Antoinette
Note: With teacher permission, you may choose another “scandalous” public figure.
The Scarlet Letter Lesson Plan #7: What is “Sin?”
Duration: 90 minutes
Priority standards: Reading 11.02; Literature 11.12
Brief overview of lesson:
This lesson will help students gain a greater understanding of the varying levels of religious influence on laws, culture, and individuals in different countries. Students will get into small groups and each group will and pick a slip of paper from three different containers labeled Taboos, Theocratic Governments and Non-Theocratic Governments. The groups will then research, create, and present posters showing how different governments in different countries treat “sin” and social taboos.
Materials needed:
3 containers, each with slips of paper with words from the following lists; access to computers or resources for conducting light research on their two countries; materials for posters including: 11 X 17” or other paper for poster, glue sticks, and markers.
Essential vocabulary:
Theocracy, taboo, sin, morals, ethics
Addressing Essential Questions:
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence/affect the individual?
Hook/Anticipatory Set:
Students will be split up into groups of 3-5 (depending on class size) and every group must draw one slip of paper from each container.
Steps/Procedures:
1. After students have split up into different groups and have drawn their slips, they will be given 11x17 or other paper to make their group poster.
Each poster must include the taboo that their group has picked, and the two countries, each at the top of one of two columns. Students may choose to provide a visual representation of the taboo, in order to make the posters more visual.
2. Each group will conduct some type of research that addresses the question: How is this taboo treated by law in the two selected countries?
3. Each group should record their findings in the two different columns.
4. After everyone has finished, each group will be asked to present their two countries’ treatments of the specified taboo. After each group has presented, follow up with the question: What conclusions can be drawn by comparing each pair of countries’ treatments of the taboo?
Closure:
The groups will post their posters in the classroom and will be able to view and reflect on other groups’ posters.
Strategies for ELL students:
You can, ahead of time, print out different countries’ laws in order to help students who might otherwise find the legal language difficult.
Strategies for TAG students:
Students who would benefit from a challenge could compare more than two countries per taboo, or could look up more than one taboo per country pair.
THEOCRATIC GOVERNMENTS:
Uganda
Afghanistan
Saudi Arabia
India
Vatican City
Iran
Sudan
Yemen
Pakistan
TABOOS:
Homosexuality
Adultery
Drug/Alcohol Use
(Female) Garb
PDA/Indecency
Thievery
Treason
Slander/Libel
Prayer
NON-THEOCRATIC GOVERNMENTS:
America
Canada
England
Norway
Australia
Mexico
Brazil
Netherlands
Germany
The Scarlet Letter Lesson Culminating Assignment:
Research-supported Literary Analysis
Duration: Determined by teacher
Priority standards: Reading: 11.01, 11.02; Literature: 11.07, 11.12; Writing: 11.15.2, 11.15.5, 11.15.6
Brief overview of lesson:
This culminating assignment gives students a chance to pull together and demonstrate the skills they have practiced in this unit, including academic research, literary analysis, critical thinking about the connections between literature and society, and expository writing. The project is tiered to allow students to demonstrate proficiency at various levels, but each tiered project addresses the same standards. For this project, students will research standards for certain types of behavior in various contemporary cultures and write a paper on The Scarlet Letter in which they examine the effects of various societal and legal sanctions on the individual.
Materials needed:
Copies for each student of the “Research-Supported Literary Analysis” handout [note: this must be modified before use to include your important dates] and the post- assessment scoring guide.
Essential vocabulary:
Literary analysis, analyze, evaluate, themes, primary and secondary sources.
Addressing Essential Questions:
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence or effect the individual?
How do hypocrisy, conformity, and vengeance affect the characters of The Scarlet Letter?
How do these same forces affect others?
Steps/Procedures:
1. Hand out the “Research-Supported Literary Analysis Assignment”
• Read the assignment together, clarifying class understanding.
• Students who did not meet or just met standards can choose from prompt #1 and prompt #2. Students who solidly met or exceeded standards (and/or who completed the Group 3 assignment in the tiered project) need to respond to prompt #3.
2. Hand out the post assessment rubric
• Discuss the rubric carefully, addressing any questions the students may have
• Optional:
o Give all students two different colored highlighters. Students should mark wording/expectations in the rubric that are confusing with one color and mark places they understand well enough to explain to someone else in the class in the other.
o When students are done reading/highlighting, they should pair up with another student and work through points of confusion together, clarifying with the teacher as needed.
3. Arrange for students to have adequate time for research and writing, including all the steps of the writing process.
Closure:
On the day students are to hand the papers in, have them select a paragraph from the paper, and have them share in small groups or as a class.
Strategies for ELL students:
ELL students should be assigned Prompt #1 or #2 on the Post-Assessment.
Strategies for TAG students:
Prompt #3 on the Post-Assessment is specifically designed for TAG students.
The Scarlet Letter: Research-Based Literary Analysis
The goals of this assignment are to help you:
• become more knowledgeable about finding and using varied research sources
• further develop your critical thinking skills and back up your points with evidence.
• become more adept at synthesizing information obtained from multiple sources
• discipline yourself to follow a scholarly research format to document in-text sources and a reference page (bibliography).
• compose a well organized, clear, concise, research-supported literary analysis paper to expand and demonstrate your knowledge on a subject of interest to you and relevant to our course theme.
Requirements:
• Length: 3-5 pages .
• Sources: Minimum of 3 legitimate sources
• Times New Roman, 12-point, double-spaced, 1 inch margins
• Thesis statement that concisely states the purpose of your essay
• MLA Format
Important deadlines:
• [Determined individually based on class schedule, access to technology, etc.]
Prompts:
Choose the prompt that correlates with the level you used on your “That’s Scandalous” project. Any changes must be discussed with me.
Prompt #1: Hester Prynne's life was dictated by her community's beliefs. If Hester committed the same "crime" in another culture or country, how would her life and experiences have differed from her life in 17th-century Massachusetts? Use what we know of Hester's character from the novel to substantiate your claims. Cite specific laws and beliefs from your research in your analysis.
Prompt #2: Shame and sin are viewed in a variety of ways in different countries and cultures: Hester committed a "crime" that is very common in America, but is conversely a legitimate crime in other countries around the world. Compare and contrast at least two other countries/cultures to Hester. Relying heavily on quotes from the novel and outside sources, explain how different cultural perceptions of sin have affected individuals in cultures, as well as Hester Prynne.
Prompt #3: Conformity is often required in theocratic societies; this is reflected in Hester's and Dimmesdale's life choices in The Scarlet Letter. Identify the forces that cause conformity in the novel and demonstrate the effects that this extreme conformity has on specific characters’ lives. Compare and contrast this theme of conformity with the conformity required of and found in other, modern theocratic societies. You may want to focus on Iran, Vatican City, Saudi Arabia, or Israel.
Scoring Guide for The Scarlet Letter Unit Post-Assessment
|Priority Standard |Exceeds |Meets |Does Not Meet |
|11.01 Analyze and evaluate the merit of an |Selects and uses reliable evidence from multiple |Selects and uses reliable evidence from multiple |Does not demonstrate ability to select and use |
|argument by examining evidence and by |sources that strongly supports paper’s thesis while |sources that mostly supports paper’s thesis while|reliable sources. |
|comparing the evidence with information |fully answering prompt. |answering prompt. | |
|available in other sources. | | | |
|11.02 Analyze an author’s unstated ideas and | | | |
|meanings and analyzing evidence that supports |Demonstrates original thought and a thorough |Demonstrates an understanding of some important | |
|those unstated ideas. |understanding of important themes with evidence used|themes with evidence used in the paper. Analysis|Paper lacks original thought and quotations used |
| |in the paper. Analysis is relevant and insightful. |is relevant. |are often irrelevant. There may be |
| | | |misinterpretations. |
| | | | |
|11.12 Analyze the way in which a work of U.S. |Student clearly understands the historical context |Writing evidences some knowledge of the novel’s |Writing evidences little knowledge of the novel |
|literature is related to the themes, issues, |and relevance of the novel, as evidenced in their |historical context and relevance. |or its historical/cultural context. |
|political movements, and events of its |writing and research. | | |
|historical period. | | | |
| |Makes compelling historical or cultural connections |Makes historical or cultural connections to the | |
| |to the novel. |novel. | |
|11.15.2 Cite sources of information as |Demonstrates mastery of MLA format, including |Demonstrates competence with MLA format. In-text | Sources are either not used or not cited. |
|appropriate. |in-text citations, quotations are used effectively. |citations are attempted; there are quotations | |
| | |which support the arguments | |
| | | | |
| |Paper weaves together text from short story, |Paper brings together text from short story, |Connections between nonfiction sources and novel |
|11.15. 5 Draw from both primary sources and |resources, and original ideas for a strong |resources, and original ideas for a reasonable |are underdeveloped. |
|secondary sources. |synthesis. |synthesis. | |
| | | |Paper may touch only briefly on the effects of |
|11.15.6 Draw supported inferences about the |Paper offers an informed, developed position about |Paper offers a developed position about effects |societal beliefs on the individual. |
|effects of a literary work on its audience. |effects of societal beliefs on the individual. |of societal beliefs on the individual. | |
The Scarlet Letter Lesson Plan #8: Final Reflection
Duration: 60 minutes
Priority standards: Reading: 11.01, 11.02; Literature: 11.06, 11.07, 11.12; Writing: 11.15.2, 11.15.5, 11.15.6
Brief overview of lesson:
This lesson closes the unit. The reflection gives students a chance to look back on and assess their learning; helps them see how they have met the standards, and lets them consider, for a final time in the unit, the essential questions. The reflection also encourages students to think about how they can use knowledge and skills in future applications.
Materials needed:
“The Scarlet Letter Final Reflection” assignment/example handout; final reflection sheets to fill out
Essential vocabulary:
Literary analysis, analyze, evaluate, correlate, themes, primary and secondary sources, reflection
Addressing Essential Question(s):
How do varying levels of religious influence on governments dictate moral and ethical law?
How does a society’s definition of “sin” influence or effect the individual?
How do hypocrisy, conformity, and vengeance affect the characters of The Scarlet Letter?
How do these same forces affect others?
Steps/Procedures:
1. Handout the “The Scarlet Letter Final Reflection” assignment/example handout as well as final reflection sheets to fill out
2. Read the assignment together, clarifying class understanding. It may be useful to let the students brainstorm briefly with a partner before they start.
3. Have the students complete their reflections.
4. Recommended: Have students keep their final reflection and the correlating assignments; students can file them in a paper or online portfolio.
The Scarlet Letter Final Reflection
For this assignment, you’ll look back at the work you’ve done and see how it matches important learning standards, then reflect on your learning in a short written piece.
Step #1: Choose from three to six of the following standards and at least three assignments that you will use as an example of how you met the chosen standards. These assignments can be anything, from your “That’s Scandalous” or final projects to a short response to a journaling prompt.
READING:
11.01 Analyze and evaluate the merit of an argument by examining evidence and by comparing the evidence with information available in other sources. (11.6.3)
11.02 Analyze an author’s unstated ideas and meanings and analyzing evidence that supports those unstated ideas. (11.6.4)
LITERATURE:
11.06 Demonstrate familiarity with major literary periods, authors, subjects of U.S. literature. (11.8.3)
11.07 Use textual evidence to develop/support an interpretation of a work from U.S. literature. (11.9.3)
11.12 Analyze the way in which a work of U.S. literature is related to the themes, issues, political movements, and events of its historical period. (11.10.17)
WRITING:
11.15 Writing Modes (11.13)
11.15.2 Cite sources of information as appropriate.
11.15.5 Draw from both primary sources and secondary sources.
11.15.6 Draw supported inferences about the effects of a literary work on its audience.
Step #2: Complete three different 1-2 paragraph reflections. For each one answer the following questions:
• Discuss the assignment: What was required of you? What do you think the purpose of this assignment was?
• How has this assignment improved your writing or thought process? What have you learned? How have you achieved the chosen standard?
SAMPLE
Name:_________________________
The Scarlet Letter Final Reflection
|Activity or Assignment : |
| |
|“Building Background Knowledge” power point and handout |
|Standards I met through this assignment: |
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|11.06 Demonstrate familiarity with major literary periods, authors, subjects of U.S. literature. (11.8.3) |
|11.12 Analyze the way in which a work of U.S. literature is related to the themes, issues, political movements, and events of its historical period. |
|(11.10.17) |
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|Reflection: |
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|It is important to understand some of the history of The Scarlet Letter in order to know why is was written and what its purpose is. We reviewed, in |
|class, a short PPT and followed along, completing a handout as we went. While this was not my favorite assignment, it did give me some helpful information|
|that I kept remembering and referring back to as I read. I achieved the standards listed above by learning about the Puritans, Nathaniel Hawthorne, and |
|where the story of Hester actually came from. It really surprised me that what happened to Hester was based on truth and that similar things happen |
|elsewhere in the world. This assignment will help me in the future because I can understand why people get so hung up about God and government. It never |
|seemed like a big deal, but now I get that it can really affect people. |
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Name:_________________________
The Scarlet Letter Final Reflection
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Additional Resources:
Background Information on Salem Witch Trials, Puritanism, and Nathaniel Hawthorne:
Holt Rinehart Winston (2007), Elements of Literature, 5th Course:
“The Salem Witchcraft Trials” (10)
“The Puritan Legacy” (11-18)
“Nathaniel Hawthorne” (249)
Research Skills:
Great Source (2007) Write Source 11:
“Research Skills” (371)
“MLA Research” (383)
“Writing Responsibly” (417)
“Documenting Research” (425)
Revision and Peer Response:
“Revising” (408)
“Peer Responding” (121)
Other Hawthorne Short Stories:
Holt Rinehart Winston (2007), Elements of Literature, 5th Course:
“Dr. Heidegger’s Experiment” (251)
“The Minister’s Black Veil” (262)
Additional Articles and Background Information:
Norton Critical Edition of The Scarlet Letter
Other Handouts Included With This Unit:
Literature Circle Packet from mrsginfo.f/LiteratureCircle+Packet+-+Discussion+Roles.doc
Literature Circle
Group Members
1.___________________________________________________________________________
2.___________________________________________________________________________
3.___________________________________________________________________________
4.___________________________________________________________________________
5.___________________________________________________________________________
|Discussion #1 Date_________ |Discussion #2 Date_________ |
|Discussion Director (questioning) |Discussion Director (questioning) |
| | |
|Illustrator (visualizing) |Illustrator (visualizing) |
| | |
|Context Collector (clarifying) |Context Collector (clarifying) |
| | |
|Summarizer (summarizing) |Summarizer (summarizing) |
| | |
|Psychic (predicting) |Psychic (predicting) |
| | |
|Discussion #3 Date_________ |Discussion #4 Date_________ |
|Discussion Director (questioning) |Discussion Director (questioning) |
| | |
|Illustrator (visualizing) |Illustrator (visualizing) |
| | |
|Context Collector (clarifying) |Context Collector (clarifying) |
| | |
|Summarizer (summarizing) |Summarizer (summarizing) |
| | |
|Psychic (predicting) |Psychic (predicting) |
| | |
|Discussion #5 Date_________ |
|Discussion Director (questioning) |
| |
|Illustrator (visualizing) |
| |
|Context Collector (clarifying) |
| |
|Summarizer (summarizing) |
| |
|Psychic (predicting) |
|_________ |
-----------------------
[1] The placement of the lessons are only suggestions and can be placed where they fit best for you.
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[pic]
Literature Circle Roles Overview
❖ Discussion Director (questioning)
Your role demands that you identify the important aspects of your assigned text, and develop questions your group will want to discuss. Focus on the major themes or big ideas in the text and your reaction to these ideas. What interests you will most likely interest those in your group. You are also responsible for facilitating your group's discussion.
❖ Illustrator (visualizing)
Your role is to draw what you read. This might mean drawing a scene as a cartoon-like sequence or an important scene so readers can better understand the action. You can draw maps or organizational trees to show how one person, place, or event relates to the others. Use the notes area to explain how your drawing relates to the text.
❖ Context Collector (clarifying)
While reading the assigned section, watch out for words of interest or concern. These might be interesting, new, important, or used in unusual ways. Indicate the specific reason and location.
❖ Summarizer (summarizing)
Prepare a brief summary of the day's reading. Use the questions as a guide to help you decide what to include. Ask yourself what is really important about the characters, events, or details in the reading.
❖ Psychic (predicting)
Use the information that you gained from the text to write a prediction fro something that will happen in the next section of text. Review the prediction made in the last meeting. Explain why it was an accurate prediction or the items in the text that mislead you.
Assignment: ________page_________
Name____________________________________________________
Due Date____________________________
Psychic (predicting)
Psychic
______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Psychic:
Your job is to predict what will happen in the next sections of text. Use the information in the text along with information that you know. Predictions should be meaningful to you and those in your group.
Look at the prediction made using information from the previous section. Explain why it was an accurate prediction. Find the text that may have led your group astray.
1. What in the text gives you hints as to what will happen next?
2. Have you read stories where something similar happened? How does that effect your predictions?
3. What do you think will happen next?
4. What’s going to happen to the main character?
5. What was the prediction for this section? Was it accurate or not?
6. Were there any sections of text that mislead your predictions so far?
7. Is your prediction for the final outcome of the book the same or different after reading this section? Why?
8. How does this section relate to those that came before it?
Write your psychic questions here and your response to the right.
________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Summarizer
______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Summarizer:
Prepare a brief summary of the day's reading. Use the questions to help you decide what to include. In some cases, you might ask yourself what details, characters, or events are so important that they would be included on an exam. If it helps to organize the information, consider making a numbered list or a timeline.
Questions
What are the most important events in the section you read?
What makes them so important?
What effect do these events have on the plot or the other characters?
What changes-in plot, character, or tone did you notice when you read?
What questions might appear on an exam about this section you read?
What might be a good essay topic for this section of the story?
________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Assignment: ________page_________
Due Date____________________________
Summarizer [pic]
Name____________________________________________________
Illustrator (visualizing)
Assignment: ________page_________
Due Date____________________________
Name____________________________________________________
Illustrator:
Your role is to draw what you read. This might mean drawing a scene as a cartoon-like sequence, or an important scene so readers can better understand the section. You can draw maps or organizational trees to show how one person, place, or event relates to the others.
Directions:
Below, explain how your drawing relates to the text. On the back of this paper, complete your drawing. Label your drawings so we know who the characters are.
Scene
___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Characters
___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Importance of the Scene to the story
____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Assignment:_____________ page_________
Context Collector (clarifying)
Name____________________________________________________
Due Date____________________________
Words, Definitions, and Word Choices
________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Context Collector:
While reading the assigned section, you watch out for words worth knowing. These words might be interesting, new, important, or used in unusual ways. It is important to indicate the specific location of the words so the group can discuss these words in context.
Directions:
In this column, write the words, page and paragraph numbers. Write the definition and an explanation about why you chose the words in the section to the right.
Words Page No. Para. No.
_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Discussion Director
Assignment: _____________ page_________
Due Date____________________________
Name____________________________________________________
Discussion Director
Your role demands that you identify the important aspects of your assigned text, and develop questions your group will want to discuss. Focus on the major themes and ideas in the text and your reaction to those ideas. You are responsible for facilitating the group's discussion. Respond to a discussion question.
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
1. Theme- underlying comment or idea about life.
• What is the author is trying to tell us about life?
• What is the message or moral of the novel?
• Have you been influenced by the novel?
• Does the theme compare or contrast with that of other literature
• that you have studied?
2. Plot- the pattern of related incidents or episodes.
• Does the novel have a traditional plot outline, including:
• introduction?
• crisis and conflict?
• climax?
• resolution?
• conclusion?
• Does the author effectively introduce characters and setting?
• How has the use of conflict and crisis been used to build up to a climax?
• Do the events in the novel lead to an exciting or thought-provoking climax?
• Is the conflict and crisis in the novel resolved to the reader's satisfaction?
• What is the effect of the conclusion on the reader's understanding of the plot,
Character development, and ideas expressed in the novel?
• Does the book tell a good story?
• Does the plot have action and suspense?
• What is the effect of action or suspense on the emotions of the reader?
• How does each episode further the plot?
• Are there any unexpected "twists" to the plot?
• Is the plot plausible and credible?
• Is the plot well constructed?
3. Characterization- authors development of characters.
• Who are the main characters?
• Can the reader accept the characters as real people? (Are they true to life?)
• Does the character develop or grow as a result of the incidents in the story?
• Does the reader come to know the characters as individuals with unique
• strengths and weaknesses?
• Can the reader become involved in the emotions of the characters?
• What motivates the characters to behave as they do?
• Would the reader have acted in the same manner as the character?
4. Setting- place and time.
• Where does the story take place?
• When does the story take place?
• Does the description of the setting create a vivid mental picture for
the reader?
• Is there any change in setting?
• How does the setting of the story affect:
• the general atmosphere of the story?
• the outcome of the story?
• the plot?
• the characters?
• the emotions of the reader?
5. Style- the unique way in which an author writes.
• How do you feel about the way the author writes?
• Can you recognize the varying importance of setting, theme, plot,
and characterization in this story?
6. Literal and Figurative Language- the author's use of language.
• What figures of speech does the author use? (Slang, idioms, sayings)
• In what ways does the author's use of figurative language improve upon
or detract from your understanding of the novel?
(simile, personification, metaphor)
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