THE WORLD OF THE BROTHERS GRIMM: A Course for Adult Education Programs

Transcription

1 THE WORLD OF THE BROTHERS GRIMM: A Course for Adult Education Programs Andrea D. E. Levin Keene High School June 15, 2014

2 Fairy tales have enduring meaning. Many students are introduced to them at a young age. For this reason, fairy tales are often considered the most inviting form of literature for students of all ages and backgrounds even students who consider themselves to be non readers. Because fairy tales possess an intriguing depth of psychological meaning, they have inspired the creation of seemingly countless films, paintings, short stories, novels, and poems. Fairy tales provide an intriguing and accessible gateway to deeper reading, writing, and thinking skills. The World of the Brothers Grimm focuses on three Grimms fairy tales the stories of Cinderella, Hansel and Gretel, and Rumpelstiltskin. For each unit, students will read a translation of the original fairy tale, an accessible young adult novel, and several poems. I start each unit by reading the original fairy tale aloud in class. Over my years teaching for Keene Community Education, I have discovered that getting student to complete homework can be a challenge. I have been the most successful when students perceive the work to be predictable and manageable. For that reason, homework for this course consists of reading young adult novels and answering ten questions per week. Students are expected to read approximately 100 pages per week on their own. I sometimes work with the class to practice breaking down this assignment into five pieces so that they can practice pacing themselves. Reading young adult literature based on fairy tales allows reluctant readers to read with more confidence. One of my students referred to the fairy tale basis of a novel as something to hold onto. We read more challenging texts in class. Each unit includes several contemporary poems inspired by the fairy tale. There is one analysis handout to use for all the poems. Applying the same analytical procedure to each poem will help students develop a critical reading routine. Students will have a 22 opportunities to practice their poetry close reading skills. Students will also have the opportunity to practice various types of writing. For each unit, students will produce two poems, one short story, and one analytical essay. Computer access is essential for this course. Time for writing has been built into thirteen out of the fifteen class sessions. I suggest that students use Google Docs to write submit their work. Google Docs saves drafts automatically and allows teachers to comment directly on students work in a clear, instantaneous way. It is also helpful because students can be directed to useful links. I have found that Google Docs makes the revision process less threatening. Students can get feedback more quickly and frequently. The increased familiarity with critiques lessens the associated anxiety. I treat the final writing portfolio as half of the final exam grade. On the first day of class, the instructor should help students set up gmail accounts and guide them through the process of using Google Docs. (Many schools and business already use Google Docs for project collaboration and document submission, so I will not include information on how to use Google Docs here. There are many helpful tutorials and instruction sheets for Google Docs available online.)

3 It is my hope that this curriculum will entice students read on their own, give them the skills to tackle challenging texts, immerse them in the writing process, and allow them to contribute their own short stories and poems to the the long tradition of literature inspired by fairy tales. Please don t hesitate to contact me if you have any questions. Andrea D.E. Levin Keene High School Keene, NH alevin@sau29.org

4 TABLE OF CONTENTS Text Selections The World of the Brothers Grimm Schedule The Common Core State Standards & The World of the Brothers Grimm Fiction Terms Poetry Terms Poetry Analysis Sheet (to use with all poems) Disney s Cinderella vs. Grimms Cinderella Grimms Cinderella Reading Questions for Grimms Cinderella Perrault s Cinderella Cinderella Comparison Chart: Disney, Grimms, and Perrault Creative Writing Assignment Sheet for the Cinderella Unit Cinder Essay Assignment Sheet Cinderella Unit Quiz Cinder reading questions: Book 1 Cinder reading questions: Book 2 Cinder reading questions: Book 3 Cinder reading questions: Book 4 Cinder Literary Terms Questions Cinderella Poetry Chart Cinderella by Gwen Straus Cinderella s Life at the Castle by Russell Edson The Ugly Stepsister by Denise Duhamel The Stepsister s Story by Emma Bull Twenty Years After by Marlene Joyce Pearson Against Cinderella by Julia Alvarez Masquerade by Barbara Crooker The Glass Slipper by Jane Shore Grimms Hansel and Gretel Questions on Grimms Hansel and Gretel Creative Writing Assignment Sheet for the Hansel and Gretel Unit Sweetly Essay Assignment Sheet Hansel and Gretel Unit Quiz Sweetly Reading Questions: Chapter 1 8 Sweetly Reading Questions: Chapter 9 18 Sweetly Reading Questions: Chapter 19 to the End Sweetly Literary Terms Questions Hansel and Gretel Poetry Chart Afraid to Look Afraid to Look Away by Kathleen Jesme Asleep in the Forest by Andrea Hollander Budy Babe in the Woods by Moyra Donaldson

5 Gretel, Lost by Jean Monahan Juvenile Court by Sara Henderson Hay Hansel Tells Gretel of the Witch by Regie Cabico Gretel, from a sudden clearing by Marie Howe The Social Worker Finds Hansel and Gretel Difficult to Place by Enid Dame Witch Words by Valery Nash Gretel by Ronald Koertge Grimms Rumpelstiltskin Reading Questions: Grimms Rumpelstiltskin Creative Writing Assignment Sheet for the Rumpelstiltskin Unit A Curse as Dark as Gold Analytical Essay Assignment Sheet A Curse as Dark as Gold Reading Questions: Chapters 1 7 A Curse as Dark as Gold Reading Questions: Chapters A Curse as Dark as Gold Reading Questions: Chapters 25 to the End A Curse as Dark as Gold Literary Terms Questions Rumpelstiltskin Poetry Chart The Name by Sara Henderson Hay Straw into Gold by Bruce Bennett Rumplestiltskin Keeps Mum by Claudia Carlson Her Shadow by Gwen Straus Writing Portfolio Assignment Sheet Final Exam

6 TEXTS FOR THE WORLD OF THE BROTHERS GRIMM Novels Cinder: Book One of the Lunar Chronicles Marissa Meyer Age Range: years Grade Level: 7 and up Lexile Measure: 790L Series: Lunar Chronicles (Book 1) Paperback: 448 pages Publisher: Square Fish; 2nd edition (January 8, 2013) ISBN 10: ISBN 13: Available Formats: hardcover, paperback, and e book Cinder is a futuristic dystopian retelling of Cinderella. It is this first in a four book series. As of the spring of 2014, the first three books in the series have been published. The title character is a teenage cyborg who works as a mechanic in New Beijing. Sweetly (Fairy Tale Retelling) Jackson Pearce Series: Fairy Tale Retelling Hardcover: 320 pages Publisher: Little, Brown Books for Young Readers; 1 edition (August 23, 2011) ISBN 10: Available Formats: hardcover, paperback, and e book Sweetly is contemporary retelling of Hansel and Gretel. It is a companion book, not a sequel, in a series of fairy tale retellings. Hansel and Gretel and now legally adults (and called Ansel and Gretchen). They leave the tragic woods of Washington and settle in a small town in South Carolina. A Curse Dark As Gold Elizabeth Bunce Age Range: 12 and up Grade Level: 7 and up Mass Market Paperback: 400 pages Publisher: Scholastic Paperbacks; 1 edition (May 1, 2010) ISBN 10: ISBN 13: Available Formats: hardcover, paperback, and e book

7 A Curse Dark As Gold is a work of historical fiction that includes supernatural elements. It takes place in the early industrial age in a village that appears to be in England. (This is never stated explicitly.) It has a strong female narrator who has inherited a textile mill after her father s death. I believe that this book is more challenging than its stated grade level. Poetry All of the poems used in The World of the Brother Grimms, with the exception of the two poems listed below, come from the following, now out of print anthology: The Poets Grimm: 20th Century Poems from Grimm Fairy Tales. Ed. Jeanne Marie Beaumont and Claudia Carlson. Ashland: Story Line Press, 2003 The Name by Sara Henderson Hay and Rumpelstiltskin by Anne Sexton are from another out of print anthology: Disenchanted: An Anthology of Modern Fairy Tale Poetry. Ed. Wolfgang Mieder. Hanover: University Press of New England, Fairy Tales All fairy tales are from the University of Pittsburgh s Grimm Brothers Home Page. Film Walt Disney s Cinderella (1950)

8 THE WORLD OF THE BROTHERS GRIMM SCHEDULE Session 1 Session 2 Session 3 class: in class reading of Grimms and Perrault s Cinderella stories Questions on Grimms and Perrault s Cinderella stories poem: Cinderella by Gwen Straus homework: Cinder: Book 1 reading questions class: discuss Book 1 of Cinder poem: Cinderella s Life at the Castle by Russell Edson poem: The Ugly Stepsister by Denise Duhamel work on two poems and short story in the computer lab homework: Cinder: Book 2 reading questions class: discuss Book 2 of Cinder poem: The Stepsister s Story by Emma Bull poem: Twenty Years After by Marlene Joyce Pearson work on two poems and short story in the computer lab homework: Cinder: Book 3 reading questions Session 4 class: discuss Book 3 of Cinder poem: Against Cinderella by Julia Alvarez work on two poems and short story in the computer lab homework: Cinder: Book 4 reading questions Session 5 class: discuss Book 4 of Cinder poem: Masquerade by Barbara Crooker poem: The Glass Slipper by Jane Shore Cinder Literary Terms Questions work on Cinder analytical essay homework: study for Cinderella unit quiz Session 6 class: Quiz on the Cinderella Unit revise Cinder analytical essay Read Hansel and Gretel questions on Hansel and Gretel poem: Afraid to Look Afraid to Look Away by Kathleen Jesme poem: Asleep in the Forest by Andrea Hollander Budy homework: through chapter 8 in Sweetly reading questions

9 Session 7 class: discuss first eight chapters in Sweetly poem: Babe in the Woods by Moyra Donaldson poem: Gretel, Lost by Jean Monahan Juvenile Court by Sara Henderson Hay work on two poems and short story in the computer lab homework: chapters 9 18 in Sweetly reading questions Session 8 class: discuss chapters 9 18 in Sweetly poem: Hansel Tells Gretel of the Witch by Regie Cabico poem: Gretel, from a sudden clearing by Marie Howe poem: The Social Worker Finds Hansel and Gretel Difficult to Place by Enid Dame work on two poems and short story in the computer lab homework: finish Sweetly reading questions Session 9 class: Discuss the final chapters of Sweetly work on Sweetly analytical essay poem: Witch Words by Valery Nash poem: Gretel by Ronald Koertge Sweetly Literary Terms Questions homework: study for Hansel and Gretel unit quiz Session 10 class: Hansel and Gretel unit quiz Revise Sweetly analytical essay read Rumpelstiltskin Rumpelstiltskin questions homework: chapters 1 7 in A Curse as Dark as Gold reading questions Session 11 class: discuss chapters 1 7 in A Curse as Dark as Gold poem: Rumpelstiltskin by Anne Sexton work on two poems and short story in the computer lab homework: chapters 8 16 in A Curse as Dark as Gold reading questions Session 12 class: discuss chapters 8 16 in A Curse as Dark as Gold poem: The Name by Sara Henderson Hay work on two poems and short story in the computer lab homework: chapters in A Curse as Dark as Gold reading questions

10 Session 13 class: discuss chapters in A Curse as Dark as Gold poem: Straw into Gold by Bruce Bennett poem: Rumplestiltskin Keeps Mum by Claudia Carlson work on two poems and short story in the computer lab homework: chapter 25 to the end in A Curse as Dark as Gold reading questions Session 14 class: discuss the final chapters of A Curse as Dark as Gold A Curse as Dark as Gold Literary Terms Questions work on A Curse as Dark as Gold analytical essay poem: Her Shadow by Gwen Straus review for final exam homework: study for the final exam fill out course evaluation sheets Session 15 class: final exam final revisions on writing portfolio

11 English Language Arts Common Core State Standards (Grades 11 12) & The World of the Brothers Grimm (WoBG) These are the standards that are covered in this course. Under each standard I have listed the course assignments/activities that include the standard. READING: LITERATURE Key Ideas and Details: CCSS.ELA LITERACY.RL Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. WoBG: analysis of novels and poems, analytical essay writing CCSS.ELA LITERACY.RL Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. WoBG: analysis of novels and poems, analytical essay writing CCSS.ELA LITERACY.RL Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). WoBG: analysis of novels and poems, analytical essay writing Craft and Structure: CCSS.ELA LITERACY.RL Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.) WoBG: analysis of novels and poems

12 CCSS.ELA LITERACY.RL Analyze how an author's choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact. WoBG: analysis of novels and poems CCSS.ELA LITERACY.RL Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). WoBG: analysis of poems WRITING Text Types and Purposes: CCSS.ELA LITERACY.W Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. WoBG: analytical essay writing CCSS.ELA LITERACY.W A Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims, reasons, and evidence. WoBG: analytical essay writing CCSS.ELA LITERACY.W B Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience's knowledge level, concerns, values, and possible biases. WoBG: analytical essay writing CCSS.ELA LITERACY.W C Use words, phrases, and clauses as well as varied syntax to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims. WoBG: analytical essay writing

13 CCSS.ELA LITERACY.W D Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing. WoBG: analytical essay writing CCSS.ELA LITERACY.W E Provide a concluding statement or section that follows from and supports the argument presented. WoBG: analytical essay writing CCSS.ELA LITERACY.W Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. WoBG: summarizing activities CCSS.ELA LITERACY.W B Develop the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. WoBG: analytical essay writing CCSS.ELA LITERACY.W C Use appropriate and varied transitions and syntax to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts. WoBG: analytical essay writing CCSS.ELA LITERACY.W D Use precise language, domain specific vocabulary, and techniques such as metaphor, simile, and analogy to manage the complexity of the topic. WoBG: analytical essay writing CCSS.ELA LITERACY.W E

14 Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing. WoBG: analytical essay writing CCSS.ELA LITERACY.W F Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic). WoBG: analytical essay writing CCSS.ELA LITERACY.W Write narratives to develop real or imagined experiences or events using effective technique, well chosen details, and well structured event sequences. WoBG: short story and poem writing CCSS.ELA LITERACY.W A Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. WoBG: short story and poem writing CCSS.ELA LITERACY.W B Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters. WoBG: short story and poem writing CCSS.ELA LITERACY.W C Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution). WoBG: short story and poem writing CCSS.ELA LITERACY.W D Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. WoBG: short story and poem writing

15 CCSS.ELA LITERACY.W E Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative. WoBG: short story writing Production and Distribution of Writing: CCSS.ELA LITERACY.W Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade specific expectations for writing types are defined in standards 1 3 above.) WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.W Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1 3 up to and including grades here.) WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.W Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information. WoBG: analytical essay writing, short story and poem writing Range of Writing: CCSS.ELA LITERACY.W Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. WoBG: analytical essay writing, short story and poem writing LANGUAGE Conventions of Standard English: CCSS.ELA LITERACY.L

16 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.L A Apply the understanding that usage is a matter of convention, can change over time, and is sometimes contested. WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.L B Resolve issues of complex or contested usage, consulting references (e.g., Merriam Webster's Dictionary of English Usage, Garner's Modern American Usage) as needed. WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.L Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.L A Observe hyphenation conventions. WoBG: analytical essay writing, short story and poem writing CCSS.ELA LITERACY.L B Spell correctly. WoBG: analytical essay writing, short story and poem writing Knowledge of Language: CCSS.ELA LITERACY.L Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. WoBG: analytical essay writing, short story and poem writing; literary analysis CCSS.ELA LITERACY.L A

17 Vary syntax for effect, consulting references (e.g., Tufte's Artful Sentences) for guidance as needed; apply an understanding of syntax to the study of complex texts when reading. WoBG: analytical essay writing, short story and poem writing Vocabulary Acquisition and Use: CCSS.ELA LITERACY.L Determine or clarify the meaning of unknown and multiple meaning words and phrases based on grades reading and content, choosing flexibly from a range of strategies. WoBG: literary analysis CCSS.ELA LITERACY.L A Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word's position or function in a sentence) as a clue to the meaning of a word or phrase. WoBG: literary analysis CCSS.ELA LITERACY.L C Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, its etymology, or its standard usage. WoBG: literary analysis CCSS.ELA LITERACY.L D Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary). WoBG: literary analysis CCSS.ELA LITERACY.L Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. WoBG: literary analysis CCSS.ELA LITERACY.L A Interpret figures of speech (e.g., hyperbole, paradox) in context and analyze their role in the text. WoBG: literary analysis

18 CCSS.ELA LITERACY.L B Analyze nuances in the meaning of words with similar denotations. WoBG: literary analysis CCSS.ELA LITERACY.L Acquire and use accurately general academic and domain specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. WoBG: literary analysis

19 FICTION TERMS I. Plot a series of related events that make up a story A. Exposition the part of the story, usually near the beginning, in which characters are introduced, the background is explained, and the setting is described B. Conflict struggle between opposing forces 1. Man vs. man external struggle between two or more individuals 2. Man vs. himself internal struggle concerning emotion and decision 3. Man vs. nature external struggle between man and an element of nature 4. Man vs. society external struggle between man and the law, school, tradition. etc. C. Complication mini conflicts that contribute to the rise in action D. Climax turning point of the story; point where the resolution of the conflict becomes clear; emotional high point (for the character, not the reader) E. Falling action the events that lead to resolution F. Resolution outcome of the conflict II. Types of Characters A. Flat characters have only one or two sides, represent one or two traits; they are often stereotypes. B. Round characters are complex and have many sides or traits; they have fully developed personalities. C. Static characters remain the same throughout the story D. Dynamic characters experience some important change in personality or a attitude E. Protagonist the main character in the story, usually a good or heroic type F. Antagonist the person or force working against the protagonist III. Four Types of Characterization techniques the writer used to develop character A. Physical description B. Speech and actions of the character C. Direct comment from the narrator D. Speech and actions of other characters IV. Themes of Literature/Analyzing Characters A. Motivation cause of actions B. Behavior actions of the character C. Consequences results of actions D. Responsibility moral, legal, or mental accountability V. Setting/ Description/Literary Devices

20 A. Setting Time and place of the story B. Sensory details words that appeal to the senses (sight/hearing/taste/touch/smell) C. Figurative language 1. Simile a comparison using like or as 2. Metaphor a comparison using is or a form of is a. Implied metaphor b. Extended metaphor 3. Personification giving human characteristics to nonhuman things D. Symbol person, place, or thing represents something beyond itself (usually something abstract E. Dialect speech that reflects pronunciation, vocabulary, and grammar typicalof a geographical region F. Flashback interruption of the chronological (time) order to present something that occurred before the beginning of the story G. Foreshadowing important hints that an author drops to prepare the reader for what is to come and help the reader anticipate the outcome H. Mood also known as atmosphere and ambience, the feeling/sense that pervades a literary work and sets up expectations as to whether the plot is going to take a happy or tragic turn. I. Irony surprising, interesting, or amusing contradictions and contrasts 1. Verbal irony words are used to suggest the opposite of their usual meaning 2. Irony of the situation an event occurs which directly contradicts expectations 3. Dramatic irony when the audience knows something that a character does not, usually used to create suspense or for humor J. Point of view perspective from which the story is told 1. first person narrator is a character in the story; uses I, We, etc. 2. third person narrator is outside the story; uses he, she, they 3. third person limited narrator can see into one character s thoughts 4. third person omniscient narrator can see into the minds of all characters

21 POETRY TERMS Alliteration repetition of initial consonant sounds Assonance repetition of vowel sounds Blank verse unrhymed iambic pentameter Cadence a rhythmic sequence or flow of sounds (in language) Caesura a pause in a line of poetry Conceit extended comparison of dissimilar things Connotation a word s meaning beyond its dictionary definition Consonance repetition of final consonant sounds Controlling image a visual representation used throughout a poem Couplet two successive lines linked by rhyme Dissonance harsh, discordant, unpleasant sounds Dramatic monologue poem in which a silent listener is addressed (usually a lyric) End stopped line grammatical mark and end of line coincide Enjambment poetic expression that expands more than one line Epic narrative poem that recounts a hero s story Euphony pleasing, harmonious sounds Foot the rhythmic unit of a line of metrical verse (also known as measure ) Free verse poetry that lacks regular meter Imagery the language used to convey a physical picture (or a picture of the senses) Lyric first person imaginative poem of private thoughts Meter regularized rhythm Octave any eight line stanza Ode serious, meditative lyric poem about a noble subject Pentameter a line of verse with five metrical feet Persona the speaker in any first person poem Quatrain a stanza containing four lines Refrain line or lines that recur throughout a poem End rhyme rhyme that occurs at the end of a line of poetry Internal rhyme rhyme in which one or both words occur within a line Scansion the analysis of poetic meter Sestet any six line poem or six line stanza Elizabethan sonnet a sonnet divided into three quatrains and a couplet Italian (or Petrarchan) sonnet a sonnet divided into an octave and a sestet Stanza grouped set of lines in a poem, set off from others

22 Name: Date: The World of the Brothers Grimm Unit Poetry Analysis Guide poem title: author: 1. Number the lines in the poem. 2. As you read, mark words that you don t know. List them below. Look up the definitions. (You may use a dictionary or your phone for this.) 3. Who is the speaker of the poem, and how can you tell? 4. Which character is the main focus of the poem? 5. Summarize the action or plot of the poem.

23 6. List details from the poem that connect it to the fairy tale. line # detail from poem line # detail from poem 7. Mark the imagery that you find. (Imagery is vivid languages that appeals to the physical senses). 8. List three images below. What emotion is evoked by each image? example line #s image emotion #1 #2 #3

24 9. Mark any sound features that you notice. These may include alliteration, consonance, assonance, onomatopoeia, rhyming, meter, and rhythm. (Check your literary terms sheet for definitions.) 10. Note how the use of sound affects your experience of the poem. How does the poet s use of sonic devices convey the tone of the poem and shape the mood of the poem? 11. What is the poem s perspective on the original fairy tale? 12. What do you like about this poem? Support your answer. 13. What do you dislike about this poem? Support your answer.

25 Name: The World of the Brothers Grimm Date: Cinderella Unit Disney s Cinderella vs. Grimms Cinderella We are not going to watch full length versions of all Disney s fairy tale movies, but I thought it would be useful to start off watching one because these films are how many Americans are first exposed to fairy tales. After we watch the film, we will read a translation of the original Grimms fairy tale. Please answer each question thoroughly. Use complete sentences. **Complete these questions after watching the film. ** 1. Describe the experience of watching Disney s Cinderella. How does one feel about the characters? What is one s experience of the plot like? How does one feel at the end? Write one paragraph (five to seven sentences). 2. Why do you think people are so attached to this film? Write one paragraph (five to seven sentences).

26 ** Complete these questions after reading the Grimms version of the fairy tale.** 3. How is Cinderella s father portrayed differently in the Grimms fairy tale? 4. a. What people or creatures provide support for Cinderella in the Grimms fairy tale? b. How does this change the experience of the story? 5. How is the prince portrayed in the Grimms fairy tale? 6. What is the fate of the sisters in the Grimms version?

27 7. How does the experience of the Grimms fairy tale differ from the experience of the Disney version? Write one paragraph (five to seven sentences).

28 Name: Date: The World of the Brothers Grimm Cinderella Unit Cinderella Jacob and Wilhelm Grimm A rich man's wife became sick, and when she felt that her end was drawing near, she called her only daughter to her bedside and said, "Dear child, remain pious and good, and then our dear God will always protect you, and I will look down on you from heaven and be near you." With this she closed her eyes and died. The girl went out to her mother's grave every day and wept, and she remained pious and good. When winter came the snow spread a white cloth over the grave, and when the spring sun had removed it again, the man took himself another wife. This wife brought two daughters into the house with her. They were beautiful, with fair faces, but evil and dark hearts. Times soon grew very bad for the poor stepchild. "Why should that stupid goose sit in the parlor with us?" they said. "If she wants to eat bread, then she will have to earn it. Out with this kitchen maid!" They took her beautiful clothes away from her, dressed her in an old gray smock, and gave her wooden shoes. "Just look at the proud princess! How decked out she is!" they shouted and laughed as they led her into the kitchen. There she had to do hard work from morning until evening, get up before daybreak, carry water, make the fires, cook, and wash. Besides this, the sisters did everything imaginable to hurt her. They made fun of her, scattered peas and lentils into the ashes for her, so that she had to sit and pick them out again. In the evening when she had worked herself weary, there was no bed for her. Instead she had to sleep by the hearth in the ashes. And because she always looked dusty and dirty, they called her Cinderella. One day it happened that the father was going to the fair, and he asked his two stepdaughters what he should bring back for them. "Beautiful dresses," said the one. "Pearls and jewels," said the other. "And you, Cinderella," he said, "what do you want?" "Father, break off for me the first twig that brushes against your hat on your way home." So he bought beautiful dresses, pearls, and jewels for his two stepdaughters. On his way home, as he was riding through a green thicket, a hazel twig brushed against him and knocked off his

29 hat. Then he broke off the twig and took it with him. Arriving home, he gave his stepdaughters the things that they had asked for, and he gave Cinderella the twig from the hazel bush. Cinderella thanked him, went to her mother's grave, and planted the branch on it, and she wept so much that her tears fell upon it and watered it. It grew and became a beautiful tree. Cinderella went to this tree three times every day, and beneath it she wept and prayed. A white bird came to the tree every time, and whenever she expressed a wish, the bird would throw down to her what she had wished for. Now it happened that the king proclaimed a festival that was to last three days. All the beautiful young girls in the land were invited, so that his son could select a bride for himself. When the two stepsisters heard that they too had been invited, they were in high spirits. They called Cinderella, saying, "Comb our hair for us. Brush our shoes and fasten our buckles. We are going to the festival at the king's castle." Cinderella obeyed, but wept, because she too would have liked to go to the dance with them. She begged her stepmother to allow her to go. "You, Cinderella?" she said. "You, all covered with dust and dirt, and you want to go to the festival? You have neither clothes nor shoes, and yet you want to dance!" However, because Cinderella kept asking, the stepmother finally said, "I have scattered a bowl of lentils into the ashes for you. If you can pick them out again in two hours, then you may go with us." The girl went through the back door into the garden, and called out, "You tame pigeons, you turtledoves, and all you birds beneath the sky, come and help me to gather: The good ones go into the pot, The bad ones go into your crop." Two white pigeons came in through the kitchen window, and then the turtledoves, and finally all the birds beneath the sky came whirring and swarming in, and lit around the ashes. The pigeons nodded their heads and began to pick, pick, pick, pick. And the others also began to pick, pick, pick, pick. They gathered all the good grains into the bowl. Hardly one hour had passed before they were finished, and they all flew out again. The girl took the bowl to her stepmother, and was happy, thinking that now she would be allowed to go to the festival with them. But the stepmother said, "No, Cinderella, you have no clothes, and you don't know how to dance. Everyone would only laugh at you."

30 Cinderella began to cry, and then the stepmother said, "You may go if you are able to pick two bowls of lentils out of the ashes for me in one hour," thinking to herself, "She will never be able to do that." The girl went through the back door into the garden, and called out, "You tame pigeons, you turtledoves, and all you birds beneath the sky, come and help me to gather: The good ones go into the pot, The bad ones go into your crop." Two white pigeons came in through the kitchen window, and then the turtledoves, and finally all the birds beneath the sky came whirring and swarming in, and lit around the ashes. The pigeons nodded their heads and began to pick, pick, pick, pick. And the others also began to pick, pick, pick, pick. They gathered all the good grains into the bowls. Before a half hour had passed they were finished, and they all flew out again. The girl took the bowls to her stepmother, and was happy, thinking that now she would be allowed to go to the festival with them. But the stepmother said, "It's no use. You are not coming with us, for you have no clothes, and you don't know how to dance. We would be ashamed of you." With this she turned her back on Cinderella, and hurried away with her two proud daughters. Now that no one else was at home, Cinderella went to her mother's grave beneath the hazel tree, and cried out: Shake and quiver, little tree, Throw gold and silver down to me. Then the bird threw a gold and silver dress down to her, and slippers embroidered with silk and silver. She quickly put on the dress and went to the festival. Her stepsisters and her stepmother did not recognize her. They thought she must be a foreign princess, for she looked so beautiful in the golden dress. They never once thought it was Cinderella, for they thought that she was sitting at home in the dirt, looking for lentils in the ashes. The prince approached her, took her by the hand, and danced with her. Furthermore, he would dance with no one else. He never let go of her hand, and whenever anyone else came and asked her to dance, he would say, "She is my dance partner." She danced until evening, and then she wanted to go home. But the prince said, "I will go along and escort you," for he wanted to see to whom the beautiful girl belonged. However, she eluded him and jumped into the pigeon coop. The prince waited until her father came, and then the prince told the father that the unknown girl had jumped into the pigeon coop.

31 The old man thought, "Could it be Cinderella?" He had them bring him an ax and a pick so that he could break the pigeon coop apart, but no one was inside. When they got home Cinderella was lying in the ashes, dressed in her dirty clothes. A dim little oil lamp was burning in the fireplace. Cinderella had quickly jumped down from the back of the pigeon coop and had run to the hazel tree. There she had taken off her beautiful clothes and laid them on the grave, and the bird had taken them away again. Then, dressed in her gray smock, she had returned to the ashes in the kitchen. The next day when the festival began anew, and her parents and her stepsisters had gone again, Cinderella went to the hazel tree and said: Shake and quiver, little tree, Throw gold and silver down to me. Then the bird threw down an even more magnificent dress than on the preceding day. When Cinderella appeared at the festival in this dress, everyone was astonished at her beauty. The prince had waited until she came, then immediately took her by the hand, and danced only with her. When others came and asked her to dance with them, he said, "She is my dance partner." When evening came she wanted to leave, and the prince followed her, wanting to see into which house she went. But she ran away from him and into the garden behind the house. A beautiful tall tree stood there, on which hung the most magnificent pears. She climbed as nimbly as a squirrel into the branches, and the prince did not know where she had gone. He waited until her father came, then said to him, "The unknown girl has eluded me, and I believe she has climbed up the pear tree. The father thought, "Could it be Cinderella?" He had an ax brought to him and cut down the tree, but no one was in it. When they came to the kitchen, Cinderella was lying there in the ashes as usual, for she had jumped down from the other side of the tree, had taken the beautiful dress back to the bird in the hazel tree, and had put on her gray smock. On the third day, when her parents and sisters had gone away, Cinderella went again to her mother's grave and said to the tree: Shake and quiver, little tree, Throw gold and silver down to me. This time the bird threw down to her a dress that was more splendid and magnificent than any she had yet had, and the slippers were of pure gold. When she arrived at the festival in this dress, everyone was so astonished that they did not know what to say. The prince danced only with her, and whenever anyone else asked her to dance, he would say, "She is my dance partner."

32 When evening came Cinderella wanted to leave, and the prince tried to escort her, but she ran away from him so quickly that he could not follow her. The prince, however, had set a trap. He had had the entire stairway smeared with pitch. When she ran down the stairs, her left slipper stuck in the pitch. The prince picked it up. It was small and dainty, and of pure gold. The next morning, he went with it to the man, and said to him, "No one shall be my wife except for the one whose foot fits this golden shoe." The two sisters were happy to hear this, for they had pretty feet. With her mother standing by, the older one took the shoe into her bedroom to try it on. She could not get her big toe into it, for the shoe was too small for her. Then her mother gave her a knife and said, "Cut off your toe. When you are queen you will no longer have to go on foot." The girl cut off her toe, forced her foot into the shoe, swallowed the pain, and went out to the prince. He took her on his horse as his bride and rode away with her. However, they had to ride past the grave, and there, on the hazel tree, sat the two pigeons, crying out: Rook di goo, rook di goo! There's blood in the shoe. The shoe is too tight, This bride is not right! Then he looked at her foot and saw how the blood was running from it. He turned his horse around and took the false bride home again, saying that she was not the right one, and that the other sister should try on the shoe. She went into her bedroom, and got her toes into the shoe all right, but her heel was too large. Then her mother gave her a knife, and said, "Cut a piece off your heel. When you are queen you will no longer have to go on foot." The girl cut a piece off her heel, forced her foot into the shoe, swallowed the pain, and went out to the prince. He took her on his horse as his bride and rode away with her. When they passed the hazel tree, the two pigeons were sitting in it, and they cried out: Rook di goo, rook di goo! There's blood in the shoe. The shoe is too tight, This bride is not right! He looked down at her foot and saw how the blood was running out of her shoe, and how it had stained her white stocking all red. Then he turned his horse around and took the false bride home again. "This is not the right one, either," he said. "Don't you have another daughter?"

33 "No," said the man. "There is only a deformed little Cinderella from my first wife, but she cannot possibly be the bride." The prince told him to send her to him, but the mother answered, "Oh, no, she is much too dirty. She cannot be seen." But the prince insisted on it, and they had to call Cinderella. She first washed her hands and face clean, and then went and bowed down before the prince, who gave her the golden shoe. She sat down on a stool, pulled her foot out of the heavy wooden shoe, and put it into the slipper, and it fitted her perfectly. When she stood up the prince looked into her face, and he recognized the beautiful girl who had danced with him. He cried out, "She is my true bride." The stepmother and the two sisters were horrified and turned pale with anger. The prince, however, took Cinderella onto his horse and rode away with her. As they passed by the hazel tree, the two white pigeons cried out: Rook di goo, rook di goo! No blood's in the shoe. The shoe's not too tight, This bride is right! After they had cried this out, they both flew down and lit on Cinderella's shoulders, one on the right, the other on the left, and remained sitting there. When the wedding with the prince was to be held, the two false sisters came, wanting to gain favor with Cinderella and to share her good fortune. When the bridal couple walked into the church, the older sister walked on their right side and the younger on their left side, and the pigeons pecked out one eye from each of them. Afterwards, as they came out of the church, the older one was on the left side, and the younger one on the right side, and then the pigeons pecked out the other eye from each of them. And thus, for their wickedness and falsehood, they were punished with blindness as long as they lived. Source: Jacob and Wilhelm Grimm, "Aschenputtel," Kinder und Hausmärchen [Children's and Household Tales Grimms' Fairy Tales], 7th edition (Göttingen: Verlag der Dieterichschen Buchhandlung, 1857), no. 21, pp The Grimms' source: Dorothea Viehmann ( ), and other sources. This tale, in a different version, was included in the first edition of Kinder und Hausmärchen (1812). It was substantially revised for the second edition (1819). Translated by D. L. Ashliman Aarne Thompson Uther type 510A.

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35 Name: Date: The World of the Brothers Grimm Cinderella Unit Reading Questions on Grimms Cinderella 1.What happened to the girl s parents? 2. What does Cinderella ask her father to bring her as a gift? 3. What is the role of the white bird in Cinderella s life? 4. How does her stepmother try to prevent Cinderella from attending the festival? 5. What role does the hazel tree play in Cinderella s life? 6. How does Cinderella s father react when the prince is looking for Cinderella after the dance? 7. What trap does the prince set for Cinderella after their third evening together?

36 8. What do the stepsisters do in an attempt to fit into the gold slipper? 9. When does the prince realize that each sister is not Cinderella? 10. When the prince asks Cinderella s father if there another daughter in the house, what does her father say in reply? 11. At the end of the story, what punishment do the stepsisters receive?

37 Name: Date: The World of the Brothers Grimm Cinderella Unit Cinderella; or, The Little Glass Slipper Charles Perrault Once there was a gentleman who married, for his second wife, the proudest and most haughty woman that was ever seen. She had, by a former husband, two daughters of her own, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled goodness and sweetness of temper, which she took from her mother, who was the best creature in the world. No sooner were the ceremonies of the wedding over but the stepmother began to show herself in her true colors. She could not bear the good qualities of this pretty girl, and the less because they made her own daughters appear the more odious. She employed her in the meanest work of the house. She scoured the dishes, tables, etc., and cleaned madam's chamber, and those of misses, her daughters. She slept in a sorry garret, on a wretched straw bed, while her sisters slept in fine rooms, with floors all inlaid, on beds of the very newest fashion, and where they had looking glasses so large that they could see themselves at their full length from head to foot. The poor girl bore it all patiently, and dared not tell her father, who would have scolded her; for his wife governed him entirely. When she had done her work, she used to go to the chimney corner, and sit down there in the cinders and ashes, which caused her to be called Cinderwench. Only the younger sister, who was not so rude and uncivil as the older one, called her Cinderella. However, Cinderella, notwithstanding her coarse apparel, was a hundred times more beautiful than her sisters, although they were always dressed very richly. It happened that the king's son gave a ball, and invited all persons of fashion to it. Our young misses were also invited, for they cut a very grand figure among those of quality. They were mightily delighted at this invitation, and wonderfully busy in selecting the gowns, petticoats, and hair dressing that would best become them. This was a new difficulty for Cinderella; for it was she who ironed her sister's linen and pleated their ruffles. They talked all day long of nothing but how they should be dressed. "For my part," said the eldest, "I will wear my red velvet suit with French trimming." "And I," said the youngest, "shall have my usual petticoat; but then, to make amends for that, I will put on my gold flowered cloak, and my diamond stomacher, which is far from being the most ordinary one in the world." They sent for the best hairdresser they could get to make up their headpieces and adjust their hairdos, and they had their red brushes and patches from Mademoiselle de la Poche.

38 They also consulted Cinderella in all these matters, for she had excellent ideas, and her advice was always good. Indeed, she even offered her services to fix their hair, which they very willingly accepted. As she was doing this, they said to her, "Cinderella, would you not like to go to the ball?" "Alas!" said she, "you only jeer me; it is not for such as I am to go to such a place." "You are quite right," they replied. "It would make the people laugh to see a Cinderwench at a ball." Anyone but Cinderella would have fixed their hair awry, but she was very good, and dressed them perfectly well. They were so excited that they hadn't eaten a thing for almost two days. Then they broke more than a dozen laces trying to have themselves laced up tightly enough to give them a fine slender shape. They were continually in front of their looking glass. At last the happy day came. They went to court, and Cinderella followed them with her eyes as long as she could. When she lost sight of them, she started to cry. Her godmother, who saw her all in tears, asked her what was the matter. "I wish I could. I wish I could." She was not able to speak the rest, being interrupted by her tears and sobbing. This godmother of hers, who was a fairy, said to her, "You wish that you could go to the ball; is it not so?" "Yes," cried Cinderella, with a great sigh. "Well," said her godmother, "be but a good girl, and I will contrive that you shall go." Then she took her into her chamber, and said to her, "Run into the garden, and bring me a pumpkin." Cinderella went immediately to gather the finest she could get, and brought it to her godmother, not being able to imagine how this pumpkin could help her go to the ball. Her godmother scooped out all the inside of it, leaving nothing but the rind. Having done this, she struck the pumpkin with her wand, and it was instantly turned into a fine coach, gilded all over with gold. She then went to look into her mousetrap, where she found six mice, all alive, and ordered Cinderella to lift up a little the trapdoor. She gave each mouse, as it went out, a little tap with her wand, and the mouse was that moment turned into a fine horse, which altogether made a very fine set of six horses of a beautiful mouse colored dapple gray. Being at a loss for a coachman, Cinderella said, "I will go and see if there is not a rat in the rat trap that we can turn into a coachman."