Beowulf Unit AP Literature and Composition Mrs.

O’Rayeh

Beowulf Unit

Advanced Placement
Literature and Composition
or Higher Education

 Common Core Alignment

 AP Literature and Composition Exam-like Questions
 Step by Step Instructions
 Answer Keys
 Easy-to-use Appendix
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

 Essential Questions
 Vocabulary
o Tier 3
 Character motivation
 Flat Character
 Round Character
 Static Character
 Dynamic Character
 Antihero
 Symbol
 Allegory
 Symbolic Act
 Motif
 Theme
 Tone
 Diction
 Metaphor
 Simile
 Kenning
 Analogy
 Hyperbole
 Allusion
 Oxymoron
 Assonance
 Consonance
 Rhyme
 Cacophony
 Alliteration
 Personification
 Verisimilitude
 Flashback
 Foreshadow
 Exposition
o Tier 2
 Humility
 Pathos
 Bravado
 Contempt
 Prudence
 Valor
 Dexterity
 Exuberant
 pompous
o
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

 Objectives
o Explore the principles of Anglo-Saxon poetry.
o Discuss the significance of paganism versus Christianity within the poem.
o Examine the language of Beowulf and significant figurative devices common to Anglo-
Saxon society.
o Respond to writing prompts like those that will appear on the Advanced Placement in
English Literature and Composition Exam.
o Offer a close reading of the text and support all assertions and interpretations with
direct evidence from the text, from authoritative critical knowledge of the genre, or
from authoritative criticism of the novel.
o Paraphrase complex passages for clarity.
o Understand new vocabulary (Tier 2 and 3) and be able to recognize how Tier 3 words
play out.
o Answer multiple choice questions similar to those that appear on the AP literature
exam.
o Think critically to answer analysis questions.
 Summary
 Common Core State Standards
o CCSS.ELA-LITERACY.RL.11-12.1
 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.
o CCSS.ELA-LITERACY.RL.11-12.2
 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.
o CCSS.ELA-LITERACY.RL.11-12.3
 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).
o CCSS.ELA-LITERACY.RL.11-12.4
 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.)
o CCSS.ELA-LITERACY.RL.11-12.5
 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.
o CCSS.ELA-LITERACY.RL.11-12.10
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

 By the end of grade 11, read and comprehend literature, including stories,
dramas, and poems, in the grades 11-CCR text complexity band proficiently,
with scaffolding as needed at the high end of the range.
 By the end of grade 12, read and comprehend literature, including stories,
dramas, and poems, at the high end of the grades 11-CCR text complexity band
independently and proficiently.
o CCSS.ELA-LITERACY.RI.11-12.7
 Integrate and evaluate multiple sources of information presented in different
media or formats (e.g., visually, quantitatively) as well as in words in order to
address a question or solve a problem.
o CCSS.ELA-LITERACY.W.11-12.2
 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.
o CCSS.ELA-LITERACY.W.11-12.2.A
 Introduce a topic; organize complex ideas, concepts, and information so that
each new element builds on that which precedes it to create a unified whole;
include formatting (e.g., headings), graphics (e.g., figures, tables), and
multimedia when useful to aiding comprehension.
o CCSS.ELA-LITERACY.W.11-12.2.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.
o CCSS.ELA-LITERACY.W.11-12.2.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.
o CCSS.ELA-LITERACY.W.11-12.2.D
 Use precise language, domain-specific vocabulary, and techniques such as
metaphor, simile, and analogy to manage the complexity of the topic.
o CCSS.ELA-LITERACY.W.11-12.2.E
 Establish and maintain a formal style and objective tone while attending to the
norms and conventions of the discipline in which they are writing.
o CCSS.ELA-LITERACY.W.11-12.2.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).
o CCSS.ELA-LITERACY.W.11-12.3
 Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event sequences.
o CCSS.ELA-LITERACY.W.11-12.3.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
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

introducing a narrator and/or characters; create a smooth progression of

experiences or events.
o CCSS.ELA-LITERACY.W.11-12.3.B
 Use narrative techniques, such as dialogue, pacing, description, reflection, and
multiple plot lines, to develop experiences, events, and/or characters.
o CCSS.ELA-LITERACY.W.11-12.3.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).
o CCSS.ELA-LITERACY.W.11-12.3.D
 Use precise words and phrases, telling details, and sensory language to convey a
vivid picture of the experiences, events, setting, and/or characters.
o CCSS.ELA-LITERACY.W.11-12.3.E
 Provide a conclusion that follows from and reflects on what is experienced,
observed, or resolved over the course of the narrative.
o CCSS.ELA-LITERACY.W.11-12.4
 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.)
o CCSS.ELA-LITERACY.W.11-12.5
 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.
o CCSS.ELA-LITERACY.L.11-12.3
 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.
o CCSS.ELA-LITERACY.L.11-12.4
 Determine or clarify the meaning of unknown and multiple-meaning words and
phrases based on grades 11-12 reading and content, choosing flexibly from a
range of strategies.
o CCSS.ELA-LITERACY.L.11-12.4.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.
o CCSS.ELA-LITERACY.L.11-12.6
 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.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

 Teaching Plan

Activities Teaching Instructions CCSS

Introduction to the 1. SW gain an understanding of the background information RI.11-12.7
History and through various activities, including videos, research,
Background readings, etc. The background information includes the
Information following topics: The Anglo Saxon Period, The History of
the Beowulf Manuscript, The Theme of Christianity vs.
Paganism, and the Heroic Code. (Appendix A)
Literary and 2. SW get a copy of a handout that covers important literary
Narrative and narrative techniques used in the epic poem. They will
Techniques Used in read each section and highlight all the important words
Beowulf or terms and then write a summary for each section,
using at least 6 words they highlighted. This activity ends
with an exercise on kennings. (Appendix B)
Vocabulary Quiz 3. Students will need to know the following words prior to L.11-12.3
the unit as they will come across them on the multiple L.11-12.4
L.11-12.4c
choice sections. Test the students (Appendix H) L.11-12.6
o Tier 3
 Metaphor
 Simile
 Kenning
 Analogy
 Hyperbole
 Allusion
 Oxymoron
 Assonance
 Consonance
 Rhyme
 Cacophony
 Alliteration
 Personification
 Verisimilitude
 Flashback
 Foreshadow
 Exposition
o Tier 2
 Humility
 Pathos
 Bravado
 Contempt
 Prudence
 Valor
 Dexterity
 Exuberant
 pompous
Close Reading and 4. Throughout this section, students will answer questions. RL.11-12.1
Analysis Questions These questions can serve as a basis for discussion. RL.11-12.2
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

(Appendix C) RL.11-12.3
The Wrath of 5. The poem opens with an introduction to Grendel. For this RL.11-12.4
RL.11-12.5
Grendel: section, students will also practice the skill of RL.11-12.10
Paraphrasing paraphrasing. (Appendix D)
The Coming of 6. For these sections of the poem, students will create their RL.11-12.1
Beowulf, The Battle own version of a “Thought Piece” like the example RL.11-12.2
RL.11-12.3
with Grendel, The provided from A Thousand Splendid Suns. (Appendix E) RL.11-12.4
Monster’s Lair: They will create a poster that finds all the literary devices RL.11-12.5
Thought Piece on and includes textual evidence. They need to fill out two of RL.11-12.10
Character, the literary devices per section. Depending on time,
Symbols, students could share their posters with the rest of the
Connections, class or in small groups. As they complete this project,
Motifs, Themes, they should read and annotate the information provided
and Tone/Style on each literary device. (Appendix F)
The Battle with 7. In these sections, SW pick a passage (8-12 lines) in its RL.11-12.1
Grendel’s Mother entirety—making sure the thought/idea begins with the RL.11-12.2
RL.11-12.3
through the End. first line and the last thought/idea of the passage ends RL.11-12.4
Color-Coded with their last line. They will create a color-coded close- RL.11-12.5
Reading reading in which they mark the following: alliteration, RL.11-12.10
kennings, metaphors/similes, symbols, motifs, imagery,
etc. They will pick three of their markings and explain
how they relate to or build on the meaning of the section.
(Appendix G)
8. They will also have some analysis/close reading questions
to answer for the remainder of the poem. (Appendix I)
Open-ended Essay 9. At the end of the unit, students will get an understanding W.11-12.2
Practice or review the open-ended questions from the AP Lit exam W.11-12.2a
W.11-12.2b
by reading through an introduction to the open-ended W.11-12.2c
question; looking at three example essays from an open- W.11-12.2d
ended question and discussing the scores and reasons for W.11-12.2e
the essays to earn the score the did; and then writing W.11-12.2f
W.11-12.4
their own essay for the open-ended question, but they W.11-12.5
will have to write their essay using Beowulf, not a text of
their choice. (Appendix K)
Modern Beowulf 10. To finish the unit, students will have a modern Beowulf W.11-12.3
Creative Writing creative writing assignment. (Appendix J) W.11-12.3a
W.11-12.3b
Assignment W.11-12.3c
W.11-12.3d
W.11-12.3e
W.11-12.4
W.11-12.5

Multiple Choice 11. These multiple choice questions and answers can be
Questions given in conjunction with the other assignments or at the
end as part of a test. These multiple choice questions are
similar to what students will find on the AP Literature
exam. The vocabulary from above was produced from the
vocabulary in these questions. (Appendix K)
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix A (Introduction to Background Information)

1. The Anglo-Saxon Period

o https://www.youtube.com/watch?v=Vzxiz3Kw9eI (The Anglo-Saxons in Britain)
 The term Anglo-Saxon refers to what?

 The Anglo-Saxon settlers replaced the _________________ with

_______________________.
 The Anglo-Saxons had their own ___________ beliefs.
 What happened with the arrival of St. Augustine in 597 A.D.?

 What did the crafty Anglo-Saxons leave behind? (you may end the video here.)

2. The History of the Beowulf Manuscript

o Research this topic and write down ten facts you learn about this Old English poem
 1.

 2.

 3.

 4.

 5.

 6.

 7.

 8.

 9.

 10.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

3. The Theme of Christianity vs. Paganism

o The Beowulf poem present a fascinating mix of Christian values and pagan traditions.
 Research Christianity and paganism, then fill in the Venn diagram showing their
differences and similarities.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

 The Heroic Code

o Beowulf was composed in the style of Germanic oral poetry, and thus, includes a wealth
of references to the heroic code of the ancient Germanic warrior societies. The heroic
code dictates that the relationships between kinsmen of the same tribe must be
founded on loyalty and respect. It is a warrior’s—or thane’s—most important task to
remain loyal to his lord and serve him without reservation. The Beowulf poet references
the heroic code as the underlying foundation of his society in virtually every chapter.
 Within the system of the heroic code, treasure functions as a sign of mutual
obligation: if a warrior performs a valuable service for his lord, he is richly
rewarded with valuables and treasures.
 The heroic code not only emphasizes courage and honor, but it also includes
vengeance as an integral component of a warrior society. When a kinsman has
been assaulted, his fellow tribesmen are expected to avenge his injury or death.
Failure to avenge an assault is considered shameful. The only way to end the
cycle of violence is through the payment of “blood gold”—the giving of treasure
to end the feud between warring parties.
o Below is a list of the heroic codes. Next to each one, think of heroes from literature,
movies, or real-life that exhibit these characteristics and explain your choice.

Strength

Courage

Honor

Loyalty

Generosity

Hospitality
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Key - Appendix A (Introduction to Background Information)

4. The Anglo-Saxon Period

o https://www.youtube.com/watch?v=Vzxiz3Kw9eI (The Anglo-Saxons in Britian)
 The term Anglo-Saxon refers to what?
 Settlers who came to Britain from the German regions of England and
Saxony after the fall of the Roman Empire at the beginning of the 5th
century A.D.
 The Anglo-Saxon settlers replaced the _________________ with
_______________________.
 The Anglo-Saxon settlers replaced the Roman stone buildings with
buildings of their own.
 The Anglo-Saxons had their own ___________ beliefs.
 The Anglo-Saxons had their own religious beliefs.
 What happened with the arrival of St. Augustine in 597 A.D.?
 The majority of Britain was converted to Christianity.
 What did the crafty Anglo-Saxons leave behind? (you may end the video here.)
 Ornate artifacts and jewelry, ship burials
5. The History of the Beowulf Manuscript
o Research this topic and write down ten facts you learn about this Old English poem
6. The Theme of Christianity vs. Paganism
o The Beowulf poem present a fascinating mix of Christian values and pagan traditions.
 Research Christianity and paganism, the fill in the Venn diagram showing their
differences and similarities.
 The Heroic Code
o Beowulf was composed in the style of Germanic oral poetry, and thus, includes a wealth
of references to the heroic code of the ancient Germanic warrior societies. The heroic
code dictates that the relationships between kinsmen of the same tribe must be
founded on loyalty and respect. It is a warrior’s—or thane’s—most important task to
remain loyal to his lord and serve him without reservation. The Beowulf poet references
the heroic code as the underlying foundation of his society in virtually every chapter.
 Within the system of the heroic code, treasure functions as a sign of mutual
obligation: if a warrior performs a valuable service for his lord, he is richly
rewarded with valuables and treasures.
 The heroic code not only emphasizes courage and honor, but it also includes
vengeance as an integral component of a warrior society. When a kinsman has
been assaulted, his fellow tribesmen are expected to avenge his injury or death.
Failure to avenge an assault is considered shameful. The only way to end the
cycle of violence is through the payment of “blood gold”—the giving of treasure
to end the feud between warring parties.
o Below is a list of the heroic codes. Next to each one, think of heroes from literature,
movies, or real-life that exhibit these characteristics and explain your choice.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix B (Literary and Narrative Techniques)

Read the following sections. As your read, highlight several words that you believe are important (key
words) to understanding the big idea of each section. Then, without trying to reread—only looking back
at your highlighted terms—write a summary for each section, using the minimum number of sentences
and number of highlighted words indicated next to each heading. (i.e., The Oral Tradition section
requires your summary includes at least 2 sentences and 4 highlighted words). Highlight or underline the
words you reused in your summary from the text.

The Oral Tradition (2 sentences, 4 highlighted words)

The Epic (3 sentences, 6 highlighted words)

Alliterative Verse and Caesura (2 sentences, 4 highlighted words)

Vocabulary (1 sentence, 2 highlighted words)

Compound Words (3 sentences, 5 highlighted words)

Names and Family Relationships (3 sentences, 5 highlighted words)

Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Kennings
A metaphorical expression used in place of a noun.
Examples:
NOUN KENNING
Sea Whale-road / swan’s way
Joints / ligaments Bone-locks
Sun Sky-candle

Directions: Come up with a kenning for the following nouns.

NOUN KENNING
Icicles
Blood
Death
Sky

Directions: Think of the noun that these kennings could stand for.
NOUN KENNINGS
Headland of swords
Battle-sweat
Winter’s blanket
Lip-streams

Directions: Come up with a kenning that represents you!

Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix C – Close Reading and Analysis Questions

As you read the poem, please use your close reading and analysis skills to answer the questions.

1. What is the predominant poetic device used in this poem and to what effect? Why would the
Beowulf poet employ a device like this so noticeably?

2. What are the practices associated with a Viking funeral?

3. What is the function of Heorot?

4. Why is Grendel appalled by the activities going on in Heorot?

5. Who or what is Grendel? Why does he live isolated in the marshes?

6. What evidence of Christianity is there in this larely pagan poem?

Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix D – The Wrath of Grendel

Paraphrasing

Although Beowulf has been translated into modern English, its long, involved sentences may still be
difficult to follow. Paraphrasing is a great way to aid in your understanding of complex passages. To do
this, you identify the key details in a passage and restate them in your own words. Please look at the
example below. For this opening section of the poem, pick two complex passages that are at least four
lines long and create graphic organizers like the example to gain a better understanding through
paraphrasing.

Original

High on a wall a Danish watcher /

Patrolling along the cliffs saw / The
travelers crossing the shore, their
shields / Raised and shining…

Key Details

guard

Saw people

come ashore

Paraphrase

A Danish guard saw strangers come

ashore, holding up their shields.
 Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix E - The Coming of Beowulf, The Battle with Grendel, The Monster’s Lair: Thought Piece

For these three sections of the poem, you will create a poster similar to the example below from A
Thousand Splendid Suns. For each section (The Coming of Beowulf through The Monster’s Lair), you
need to fill in two sections of the poster.

A Thousand Splendid Suns Chapters 6-10

Jordon Bradley

Characters Symbols Connection

Table: “Her eyes traced the sleek
Mariam: Mariam is devastated by the loss of shape of the table’s legs, the….dark Daisy/Mariam
her mother. After about a week and a half brown surface. She noticed that Mariam, like Daisy in The Great
after her mother’s funeral, she is taken into every time she breathed out, the Gatsby, married a man due to the
the dining room and told that she has a suitor surface fogged, and she disappeared amount of money he possessed
and will soon be married and move off to from her father’s table.” (49-50) and not for love. Both Daisy and
Kabul. “and a mullah she did not recognize Mariam are unhappy with their
Jalil: Mariam’s father. He lives in Herat and were already seated at the table.” marriages, but saw no better
has three wives. He is behind the wedding, (51) alternatives, except Daisy, who
but still seems reluctant to let Mariam go. Discuss the significance of the table. found one later on in her marriage.
Mullah Faizullah: Mullah Faizullah is the only In contrast Daisy married due to
person Mariam wishes to see during her her own decisions, whereas
Motifs
mourning for her mother. He only comes Mariam was forced into this
Flowers: “The room had a bed with a
once before she leaves for Kabul with her relationship by her father and his
green-flowered blanket….a three
new husband and isn’t invited to the wives.
drawer chest with a flower vase on
wedding. it.” (39)
Rasheed: Mariam’s suitor. He is a Tom/Rasheed
“I will use a flower petal for paper,”
shoemaker for various high-class people and Like Tom, Rasheed is power hungry
(41)
is wealthy. He is also very large and about and extremely possessive. He
“…in the center of the table, was a
40-45 years old. believes that his wife should be
crystal vase of fresh marigolds…”
Fariba: Wife of Hakim, a teacher. She lives extremely faithful and obedient
(45)
about 5 houses from Mariam. They met at while he is free to do as he pleases.
“White tuberoses spilled from its
the local tandoor. Fariba tries to stand up for However, unlike Tom, Rasheed has
sides.” (60)
Mariam when the crowd of women the power of the government on
Discuss the significance of the
overwhelms her. his side. The law doesn’t prohibit
flowers and their meanings.
Rasheed from killing his wife is she
is disobedient or unfaithful.
Themes
Male Dominance: “Her own band was a little tight, but Rasheed had no trouble forcing it
over her knuckles.” (53)
Tone and Style
“Stop your crying, now. I mean it.” (59)
For this section, you will find a
“That’s one thing I can’t stand,” he said, scowling, “the sound of a woman crying. I’m
passage that lends to the
sorry. I have no patience for it.” (59)
dominating tone of this section of
“Are you frightened of me?” “She quickly shook her head in what she recognized as her
the poem. Include the key
first lie in their marriage.” (61)
words/phrases/literary devices that
create the tone. Remember to use
Your theme needs to be unique and more than one word. Do not choose something
two words (i.e., satirically
like death, honor, etc. It should be a phrase.
pessimistic) and then discuss how
the evidence you chose helps to
create the tone. You should also
dicscuss style
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix F – Notes on Literary Devices

Notes taken and adapted from Literature: an Introduction to Fiction, Poetry, Drama, and Writing by
Kennedy and Gioia.

o Character
o A character is an imagined
person who inhibits a story.
o If the story seems “true to
life,” we generally find that
its characters act in a “SHOW ME A CHARACTER WITHOUT
reasonably consistent ANXIETIES, AND I WILL SHOW YOU A
manner and that the author
BORING BOOK.”
has provided them with
motivation: sufficient -Margaret Atwood
reason to behave as they
do. Should a character
behave in a sudden and unexpected way, seeming to deny what we have been told about
his or her nature or personality, we trust that there was a reason for this behavior and that
sooner or later we will discover it.
o Characters may seem flat or round, depending on whether a writer sketches or sculpts
them. A flat character has only one outstanding trait or feature, or at most a few
distinguishing marks: for example, the familiar stock character of the mad scientist, with his
lust for absolute power and his crazily gleaming eyes. Round characters, however, present
us with more facets—that is, their authors portray them in greater depth and in more
generous detail. Such a round character may appear to us only as he appears to the other
characters in the story. If their views of him differ, we will see him from more than one side.
In other stories, we enter a character’s mind and come to know him through his own
thoughts, feelings, and perceptions.
o Flat characters tend to stay the same throughout a story, but round characters often change
—learn or become enlightened, grow or deteriorate. A fixed character is often called a static
character; a changing one, dynamic. In most fiction—even the greatest—minor characters
tend to be flat instead of round. Why? Rounding them would cost time and space; they also
might distract us from the main characters.
o Although readers usually consider plot the central element of fiction, writers usually remark
that stories begin with characters. They imagine a person in loving detail and then wait to
see what that character will do. A story’s action usually grows out of the personality of its
protagonist and the situation he or she faces. As critic Phyllis Bottome observed, “If a writer
is true to his characters, they will give him his plot.”
o In writing about the protagonist (or any other figure) in a story, begin by studying his or her
personality. What makes this individual different from the other characters in the story?
Note that the way characters speak can immediately reveal important things about their
personalities, beliefs, and behavior. A single line of dialogue can tell the audience a great
deal, as in an old film in which the comedian W.C. Fields confides, “A woman drove me to
drink and I never even had the courtesy to think her.”
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Writing About Character

 Who is the main character or protagonist of the story?

 Make a quick list of the character’s physical, mental, moral, or behavioral traits.
Which of these characteristics seem especially significant to the action of the story?
 Does the main character have an antagonist? How do they differ?
 Does the way the protagonist speaks reveal anything about his or her character?
 If the story is told in the first person, what is revealed about how the protagonist
views his or her surroundings?
 What is the character’s primary motivation? Does this motivation seem as
reasonable to you as it does to the protagonist? If not, what is suggested by this
unreasonableness? Does the protagonist fully understand his or her motivations?
 In what ways is the protagonist changed or tested by the events of the story?

o Symbols
o In F. Scott Fitzgerald’s novel, The Great Gatsby, a huge pair of bespectacled eyes stares
across a wilderness of ash heaps, from a billboard advertising the services of an oculist.
Repeatedly entering into the story, the advertisement come to mean more than simply the
availability of eye examinations. Fitzgerald has a character liken it to the eyes of God; he
hints that some sad, compassionate spirit is brooding as it watches the passing procession of
humanity. Such an object is a
symbol: in literature, a thing
that suggest more than its
literal meaning.
o Symbols generally do not “ALL YOU HAVE TO DO IS CLOSE YOUR EYES
“stand for” any one meaning, AND WAIT FOR THE SYMBOLS.”
nor for anything absolutely
-TennesseeWilliams
definite; they point, they hint,
or, as Henry James put it, they
cast long shadows. To take a
large example, in Herman Melville’s Moby-Dick, the great white whale of the book’s title
apparently means more than the literal meaning of an aquatic mammal. He also suggests
more than the devil, to whom some of the characters liken him. The great whale, as the
story unfolds, comes to imply an amplitude of meanings, among them the forces of nature
and the world created universe.
o The indefinite multiplicity of meanings is characteristic of a symbolic story and distinguishes
it from an allegory, a story in which persons, places, and things form a system of clearly
labeled equivalents. One modern instance is George Orwell’s long fable Animal Farm, in
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

which (among its double meanings) barnyard animals stand for human victims and
totalitarian oppressors.
o Much as a symbolic whale holds more meaning than an ordinary whale, a symbolic act is a
gesture with larger significance than usual. For the boy’s father in Faulkner’s “Barn Burning,”
the act of destroying a barn is no mere act of spite, but an expression of his profound hatred
for anything not belonging to him.
o Why do writers have to symbolize—why don’t they tell us outright? One advantage of a
symbol is that it is so compact, and yet so fully laden, both starkly concrete and slightly
mysterious. The watch suggesting, among other things, the slow and invisible passage of
time, says more fully and more memorably than could be said, perhaps, in a long essay on
the subject.
o How then do you recognize a symbol in fiction when you meet it? Fortunately, the
storyteller often gives the symbol emphasis. It may repeatedly be mentioned throughout
the story; it may even supply the story with a title. At times, a crucial symbol will open a
story or end it. Unless an object, act, or character is given some such special emphasis and
importance, we may generally feel safe in taking it at face value. Probably it isn’t a symbol if
it points clearly and unmistakably toward some one meaning, like a whistle in a factory
whose blast at noon means lunch. But an object, an act, or a character is surely symbolic if,
when we finish the story, we realize it was that item—those gigantic eyes; that clean, well-
lighted café; that burning of a barn—which leads us to the author’s theme, the essential
meaning.
o One danger about analyzing a story’s symbolism is the temptation to read symbolic meaning
into everything. Generally, a horse is a horse, and a hammer is a hammer.

Thinking About Symbols

 Which objects, actions, or places seem unusually significant?

 List the specific objects, people, and ideas with which a particular symbol is
associated.
 Locate the exact place in the story where the symbol links itself to the other thing.
 Ask if each symbol comes with ready-made cultural associations. If so, what are
these?
 Avoid far-fetched interpretations. Focus first on the literal things, places, and
actions in the story.
 Don’t make a symbol mean too much or too little; don’t limit it to one narrow
association or claim it summons up many different things.
 Be specific. Identify the exact place in the story where a symbol takes on a deeper
meaning.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

o To “read” a symbol, ask yourself what it means to the protagonist of the story. What events,
characters and ideas are associated with it?
o When you write about symbols, remember that few symbols in literature are hidden. Don’t
go on a symbol hunt. Most real symbols will find you as you read.
o Motif
o An element that recurs significantly throughout a narrative and reveals a theme. A motif can
be an image, idea, theme, situation, or action. A motif can also refer to an element that
recurs across many literary works like a beautiful lady in medieval romances who turns out
to be an evil fairy or three questions that are asked a protagonist to test his or her wisdom.
o In Shakespeare’s Hamlet, the repeated use fo the words such as play, act, see, assume,
show reveal, appear, form and shape, as well as the inclusion of a play within a play, become
a motif, which helps to reveal one of the play’s central themes: the contrast between
appearance and reality.
o Connections
o Schema theory explains how our previous experiences, knowledge, emotions, and
understandings affect what and how we learn. Schema is the background knowledge and
experience readers bring to the text. Good readers draw on prior knowledge and experience
to help them understand what they are reading and are thus able to use that knowledge to
make connections. Struggling readers often move directly through a text without stopping
to consider whether the text makes sense based on their own background knowledge, or
whether their knowledge can be used to help them understand confusing or challenging
materials. By connecting to the text, you are better able to understand and remember
details from your reading.
o Comprehension occurs best when you make different kinds of connections: text-to-text,
text-to-self, and text-to-world. Text-to-self connections are highly personal connections that
a reader makes between a piece of reading material and the reader’s own experiences or
life. An example of a text-to-self connection might be, "This story reminds me of a vacation
we took to my grandfather’s farm." Sometimes when reading, readers are reminded of
other things that they have read, other books by the same author, stories from a similar
genre, or perhaps on the same topic. These types of connections are text-to-text
connections. Readers gain insight during reading by thinking about how the information
they are reading connects to other familiar text. Text-to-world connections are the larger
connections that a reader brings to a reading situation. We all have ideas about how the
world works that goes far beyond our own personal experiences. We learn about things
through television, movies, magazines, and newspapers. Often it is the text-to-world
connections that teachers are trying to enhance when they teach lessons in science, social
studies, and literature.
o It helps readers understand how characters feel and the motivation behind their
actions.
o It helps readers have a clearer picture in their head as they read thus making the
reader more engaged.
o It keeps the reader from becoming bored while reading.
o It sets a purpose for reading and keeps the reader focused.
o It helps readers remember what they have read and ask questions about the text.
o Theme
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

o The theme of a story is whatever general idea or insight the entire story reveals.
In some stories the theme is unmistakable. In a work of commercial fiction, too,
the theme is usually obvious. Consider a typical detective thriller in which, say, a
rookie police officer trained in scientific methods of crime detection sets out to
solve a mystery sooner than his or her rival, a veteran sleuth whose only
laboratory is carried under his hat. Perhaps the veteran solves the case, leading
to the conclusion (and the theme), “The old ways are the best ways after all.”
o In literary fiction, however, a theme is seldom so obvious. This is, a theme need
not be a moral or a message; it may be what the happenings add up to, what the
story is about. When we come to the end of a finely wrought short story such as
Ernest Hemingway’s “A Clean, Well-Lighted Place,” it may be easy to sum up the
plot—to say what happens—but it is more difficult to sum up the story’s main
idea. Evidently,
Hemingway relates events
—how a younger waiter
gets rid of an old man and
how an older waiter then
goes to a coffee bar—but
in themselves these
events seem relatively “THEY SAY GREAT THEMES MAKE GREAT
slight, though the story as NOVELS…BUT WHAT THESE YOUNG
a whole seems large (for
its size) and full of WRITERS DON’T UNDERSTAND IS THAT
meaning. For the meaning, THERE IS NO GREATERE THEME THAN MEN
we must look to other
elements in the story AND WOMEN.”
besides what happens in
-Jon O’Hara
it. And it is clear that
Hemingway is most deeply
interested in the thought
and feelings of the older waiter, the character who has more and more to say as
the story progresses, until at the end of the story is entirely confined to his
thoughts and perceptions. What is meaningful in these thoughts and perceptions?
The older waiter understands the old man and sympathizes with his need for a
clean, well-lighted place. If we say that, we are still talking about what happens in
the story, though we have gone beyond merely recording its external events. But
a theme is usually stated in general words. Another try: “Solitary people who
cannot sleep need a cheerful, orderly place where they can drink with dignity.”
That’s a little better. We have indicated, at least, that Hemingway’s story is about
more than just an old man and a couple of waiters. But what about the old man’s
meditation on nada, nothingness? Coming near the end of the story, it takes great
emphasis, and probably no good statement of Hemingway’s theme can leave it
out. Still another try at a statement: “Solitary people need a place of refuge from
their terrible awareness that their lives (or, perhaps, human lives) are essentially
meaningless.” Neither this nor any other statement of the story’s theme is
unarguably right, but at least the sentence helps the reader to bring into focus
one primary idea that Hemingway seems to be driving at. When we finish reading
“A Clean, Well-Lighted Place,” we feel that there is such a theme, a unifying
vision, even though we cannot reduce it absolutely to a tag. Like some freshwater
lake alive with creatures, Hemingway’s story is a broad expanse, reflecting in
many directions. No wonder that many readers will view it in different ways.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

o Moral inferences may be drawn from the story, no doubt, for Hemingway is
indirectly giving us advice for properly regarding and sympathizing with the
lonely, the uncertain, and the old. One could argue that “A Clean, Well-Lighted
Place” contains several themes, and other statements could be made to take in
Hemmingway’s views of love, of communication between people, of dignity. Great
short stories, like great symphonies, frequently have more than one theme.
o Theme can be thought of as the larger realization that the story leaves us with.
o Sometimes you will hear it said that the theme of a story is “loss of innocence” or
“initiation into maturity” or “the revolt of the downtrodden.” These are themes in
a larger sense, a more abstract sense than described above. These general
descriptions can be useful; however, it is suggested that, in the beginning, you
look for whatever truth or insight you think the writer of the story reveals. Try to
sum it up in a sentence. By doing so, you will find yourself looking closely at the
story, trying to define its principle meaning.
o Consider these points:
 Look back once more at the title of the story. From what you have read,
what does it indicate?
 Does the main character in any way change in the story? Does this
character arrive at any eventual realization or understanding? Are you left
with any realization or understanding you did not have before? Does the
author make any general observations about life or human nature? Do the
characters make any?
 Does the story contain any especially curious objects, mysterious flat
characters, significant animals, repeated names, song titles, or whatever,
that hint at meanings larger than such things ordinarily have? In literary
stories, such symbols may point to central themes.
 When you have worded your statement of theme, have you cast your
statement into general language, not just given a plot summary?
 Does your statement hold true for the story as a whole, not for just part of
it?
o Trying to sum up the point of a story in our own words—through a statement of
theme—is merely one way to make ourselves better aware of whatever we may
have understood vaguely and tentatively. Attempted with loving care, such
statements may bring into focus our scattered impressions of a rewarding story,
may help to clarify and hold fast whatever wisdom the storyteller has offered us.
o A clear, precise statement about a story’s theme can serve as a promising thesis
statement. Start by making a list of all the story’s possible themes:
 Old ways vs. new
 Tradition vs. progress
 Resistance to change
 Intellectual arrogance
 Warning: pride goes before a fall
 Insensitivity to others’ feelings
 Live and let live
o After listing possible themes, determine which points are most important, and
formulate a single sentence in which you touch on each one. For “tradition vs.
progress,” “pride goes before a fall,” and “insentivity to others’ feelings,” you
might come up with this summary for Chinua Achebe’s short story “Dead Men’s
Path:” The central theme of ‘Dead Men’s Path’ is that progress is best made in a
spirit of compromise, not by insensitivity to the feelings of those who follow the
old ways.”
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

o Your thesis or statement of theme should apply to everything in the story. If it

doesn’t, reevaluate. This happens to the best of writers; recognizing your own
mistakes is an important step in critical thinking.

Determining a Story’s Theme

 List as many possible themes as you can.

 Circle the two or three most important points and try to combine them into a sentence. This
sentence could be your preliminary thesis.
 Relate particular details of the story to the theme you have spelled out. Consider plot details,
dialogue, setting, point of view, title—any elements that see especially pertinent.
 Check whether all the elements of the story fit your thesis. If not, reevaluate your thesis.
 Have you missed an important aspect of the story? Or, have you chosen to focus on a secondary
idea, overlooking the central one?
 If necessary, rework your thesis until it applies to every element in the story.

o Tone (and Style)

o Whatever leads us to infer the author’s attitude is commonly called tone. Like the
tone of voice, the tone of literature may communicate amusement, anger,
affection, sorrow, contempt.
o Writers of effective stories no doubt have feelings toward their characters and
events. The authors presumably care about the imaginary people and, in order for
the story to grasp and sustain our interest, have to make us see these people in
such a way that we, too, will care about them. When at the beginning of the
shorty story “In Exile” Chekhov introduces us to a character, he does so with a
description that arouses sympathy:
 The Tartar was born out and ill, and wrapping himself in his rags, he talked
about how good it was in the province of Simbrisk, and what a beautiful
and clever wife
he had left at
home. He was
not more than
twenty-five,
and in the “STYLE HAS NO FIXED LAWS; IT IS
firelight his CHANGED BY THE USAGE OF THE PEOPLE,
pale, sickly
face and
NEVER THE SAME FOR ANY LENGTH OF
woebegone TIME.”
expression
made him -Seneca
seem like a boy.
o Other than the comparison of the Tartar to a child, the details in this passage
seem mostly factual: the young man’s illness, ragged clothes, facial expression,
and topics of conversation. These details form a portrait that stirs pity.
o Not only the author’s choice of details may lead us to infer his or her attitude, but
also choice of characters, events, and situations, and choice of words.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

o When the narrator of Joseph Conrad’s Heart of Darkness comes upon an African
outpost littered with abandoned machines and notices “a boiler wallowing in the
grass,” the exact word wallowing conveys an attitude: that there is something
swinish about this scene of careless waste.
o Tone implies the feelings of the author. Those feelings may be similar to feelings
expressed by the narrator of the story or by any character), but sometimes they
may be dissimilar, even sharply opposed. The characters in a story may regard an
event as sad, but we sense that the author regards it as funny. To understand the
tone of a story, then, is to understand some attitude more fundamental to the
story than whatever attitude the character explicitly declare.
o The tone of a story, like a tone of voice, may convey not simply one attitude, but
a medley. While reading “A&P,” the reader has mingled feelings about Sammy:
delight in his wicked comments about other people and his skewering of
hypocrisy; irritation at his smugness and condescension; admiration for his
readiness to take a stand; sympathy for the pain of disillusionment. Often the
tone of a literary story will be too rich and complicated to sum up in one or two
words. But to try to describe the tone of such a story may be a useful way to
penetrate to its center and to grasp the whole of it.
o One of the clearest indications of the tone of a story is the style in which it is
written. In general, style refers to the individual traits or characteristics of a piece
of writing. A distinctive style marks the work of fine writer: we can tell his or her
work from that of anyone else.
o Usually, style indicates a mode of expression: the language a writer uses. In this
sense, the notion of style includes such traits as the length and complexity of
sentences, and diction, or choice of words: abstract or concrete, bookish, or close
to speech. Involved in the idea of style, too, is any habitual use of imagery,
patterns of sound, figures of speech, or other devices.
o If you look around a crowded classroom, you will notice—consciously or not—the
styles of your fellow students. The way they dress, talk, and even sit conveys
information about their attitudes. A haircut, a T-shirt, a tattoo, a piece of jewelry
all silently say something. Similarly, a writer’s style—his or her own distinct voice
—can give the reader crucial extra information.
o To analyze a writer’s style, think about how he or she handles the following four
elements:
 Diction—simple, unemotional language vs. extravagant, emotionally
charged language.
 Sentence Structure—Look for patterns: short, clipped sentences vs. long,
elaborate syntax.
 Tone—determining the writer’s attitude towards the story they are telling:
dispassionate restraint vs. hushed excitement.
 Organization—the order in which information is presented: a
straightforward, chronological manner vs. complicated and surprising
ways.

Thinking about Tone and Style

 Does the writer use word choice in a distinctive way?

 Does the author tend toward long or short—even fragmented—sentences?
 How would you characterize the writer’s voice? Is it formal or casual? Distant or intimate?
Impassioned or restrained?
 Can the narrator’s words be taken at face value?
 Is there anything ironic about the narrator’s voice?
 How does the writer arrange the material? Is information delivered chronologically, or is the
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix G – Color Coded Notes for “The Last Battle”

Directions: Choose a passage of 8-12 lines (must begin with a new thought/idea and end
with the completion of a thought/idea), and copy it down. Then create a color-coded close-
reading in which you mark the following: alliteration, kennings, metaphors/similes, symbols,
imagery, and any other literary devices and techniques present in the passage. Now choose
three of your markings and go further into explaining how that literary device/technique
relates to or helps develop the meaning of the passage. Provide a key.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix H

Vocabulary Quiz

a figure of speech in which apparently contradictory

A.
1. Simile terms appear in conjunction
a modest or low view of one's own importance;
B.
2. Oxymoron humbleness
a figure of speech in which a word or phrase
literally denoting one kind of object or idea is used
C.
in place of another to suggest a likeness
3. Exuberant or analogy between them
correspondence of sound between words or the
D. endings of words, especially when these are used at
4. Bravado the ends of lines of poetry
a bold manner or a show of boldness intended to
E.
5. Rhyme impress or intimidate
a figure of speech comparing two unlike things
F. that is often introduced by like or as (as in cheeks
6. Metaphor like roses)
the occurrence of the same letter or sound at the
G.
7. Valor beginning of adjacent or closely connected words

8. Allusion H. the appearance of being true or real

9. Flashback I. skill in performing tasks, especially with the hands

an expression designed to call something to mind
J. without mentioning it explicitly; an indirect or passing
10. Analogy reference
a scene in a movie, novel, etc., set in a time earlier
K.
11. Dexterity than the main story

12. Alliteration L. great courage in the face of danger, especially in battle

a comparison between two things, typically on the basis
M. of their structure and for the purpose of explanation or
13. Assonance clarification
takes place when two or more words close to one
N. another repeat the same vowel sound but start with
14. Humility different consonant sounds
filled with or characterized by a lively energy and
O.
15. Verisimilitude excitement
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Provide the definition for the following words:

16. Kenning

17. Hyperbole

18. Consonance

19. Cacophony

20. Personification

21. Foreshadow

22. Exposition

23. Pathos

24. Contempt

25. Prudence

26. Pompous
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix I – Analysis and Close Reading Questions for “The Battle with Grendel’s Mother”
through the end of the poem
1. Of what promise does Beowulf remind Hrothgar before he plunges into his
underworld adventure?

2. What supernatural elements are present in this episode that were not present in his
fight against Grendel?

3. List some significant differences between Beowulf’s fight with Grendel and his fight
with Grendel’s mother.

4. What leads to Beowulf’s victory against Grendel’s mother?

5. What is Beowulf’s first action upon defeating Grendel’s mother?

6. How does Beowulf explain his victory when he returns to Heorot?

7. What happens to the Geats in the years following Beowulf’s return from the land of
the Danes?

8. What do the dragon’s raids do to Beowulf that is even worse than the destruction of
physical property?
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

9. What is Beowulf’s mood as he goes into battle with the dragon? Provide evidence.

10. What is significant about the introduction of a new character, Wiglaf, at this time?

11. How is the dragon eventually defeated? What is the significance of the narrative of
this victory?

12. Why does Beowulf react as he does to seeing the dragon’s treasure? What has
treasure come to represent in this poem?

13. With what literary and rhetorical device does the poet end his tale? What effect does
he create?
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix J
Beowulf Modern Writing Assignment
Beowulf is one of the oldest stories in the English language. However, the basic –good
versus evil—has been repeated again and again. One important aspect of the story is
the fact that Grendel attacks not only the men, but also their way of life. The mead-
hall is central to their society. By abandoning it, they are abandoning their tales of
battles, feasts, and boasting of future glory. Beowulf comes to purge the evil from the
hall and restore Hrothgar and his men to their (and his) way of life. Throughout the
story, Beowulf’s words and actions show us what is important in his society

Option 1: For this option, you will be modernizing the story of Beowulf; you only
need to go to his defeat of Grendel, but you may go beyond this point. To do so, you
will need to place Beowulf in modern times, of course. However, there aren't many
guys running around in armor with swords these days. Beowulf will need a job, or
perhaps Beowulf will be an idea or something that isn’t human. Heorot will become
something important to today’s society. Grendel will be someone who threatens it.
Beowulf will need to defeat him somehow. He does not have to kill Grendel in your
story. Think of an interesting, funny, or just ordinary job. (Try to be creative. Grendel
does not have to be a robber or a terrorist.)

An important aspect of Beowulf is the way in which it is told/written. The scop uses
kennings, alliteration, and foreshadowing in telling his story. He also takes great care
in describing Beowulf’s appearance as he readies for battle, as well as other parts of
the story. These create a strong (and difficult) voice. (Pick whether you want to be
serious of funny. It is your choice.)

Option 2: For this option, you are to write an analysis paper in which you explore
how the story of Beowulf is reflected in more recent events in society. You must
define our modern-day Beowulf, as well as our modern-day Grendel. How does this
Grendel attack our way of life? What is central to our society? How are our values
reflected in Beowulf and his actions? How might Beowulf defeat this Grendel? Are
there relatives of Grendel lurking about waiting their turn to attack? This Beowulf
does not have to kill this Grendel. What other outcomes might there be and are they
acceptable?

In this paper, you must use quotes from the text of Beowulf and correlate them to the
ideas in your paper. In other words, go back through the reading and find passages
and events that seem to connect well with your ideas about the current issue and
explain how each relates to your modern situation.
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

This should be written in the form of an academic essay—thesis statement, 3rd person,
formal writing, etc.

Option 3: For this option, you are to identify some of your own personal dragons.
Analyze these dragons and your struggle with them, looking for similarities to the
story of Beowulf. You are Beowulf. What are your values and how are they
manifested? How do you fight your dragons? Are you able to defeat them as Beowulf
defeats Grendel, or are there some that you continue to battle, unsure of the ultimate
outcome? In what ways are your personal dragons like Grendel? Like Grendel’s
mother?

In this paper, you must use quotes from the text of Beowulf and correlate them to the
ideas in your paper. In other words, go back through the reading and find passages
and events that seem to connect well with your personal struggles. Explain how each
correlates to your personal struggles. Why can't/don't we defeat all of our dragons?
Will they defeat us? Answer these questions in terms of your own personal
experience.

This is a personal essay—1st person is acceptable…I do expect a strong voice to be

used in the personal essay; add character and make your personality shine through
your writing.

For all options, I expect descriptive writing (appropriate to the option) to shine
through—details, imagery, descriptive verbs and adjectives, concrete language,
metaphors, hyperboles, personification, etc. Even option 2, an analysis essay, can be
creative and fun/interesting to read.

Requirements

You must include the following, and they should flow in your writing, not be forced:
1) Three Kennings (underline them)
2) Two allusions (highlight them)
3) At least four other figurative language components: personification, alliteration,
simile, hyperbole, metaphor, synecdoche, metonymy, etc. (bold them)
4) 12 point, easy-to-read font
5) 3-6 pages
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Student Name: ________________________________________

3.5 -
CATEGORY 5 - Exceeds 4.25 - Meets Approaching 2.75 – Emerging
Introduction First paragraph has First paragraph has A catchy beginning No attempt was
a \"grabber\" or a weak \"grabber\". was attempted but made to catch the
catchy beginning. was confusing rather reader\'s attention in
than catchy. the first paragraph.

Focus on The entire paper is Most of the paper is Some of the paper is No attempt has been
Assigned Topic related to the related to the related to the made to relate the
assigned topic and assigned topic. The assigned topic, but a story to the assigned
allows the reader to story wanders off at reader does not learn topic.
understand much one point, but the much about the topic.
more about the topic. reader can still learn
something about the
topic.
Organization The paper is very well The paper is pretty The paper is a little Ideas and scenes
organized. One idea well organized. One hard to follow. The seem to be randomly
or scene follows idea or scene may transitions are arranged.
another in a logical seem out of place. sometimes not clear.
sequence with clear Clear transitions are
transitions. used.

Creativity The paper contains The paper contains The paper contains a There is little
many creative details a few creative details few creative details evidence of creativity
and/or descriptions and/or descriptions and/or descriptions, in the story. The
that contribute to the that contribute to the but they distract from author does not
reader\'s enjoyment. reader\'s enjoyment. the story. The author seem to have used
The author has really The author has used has tried to use his much imagination.
used his imagination. his imagination. imagination.
Problem/Conflict It is very easy for the It is fairly easy for It is fairly easy for the It is not clear what
reader to understand the reader to reader to understand problem the main
the problem the main understand the the problem the main characters face.
characters face and problem the main characters face but it
why it is a problem. characters face and is not clear why it is a
why it is a problem. problem.

Requirements All of the written Almost all (about Most (about 75%) of Many requirements
requirements were 90%) the written the written were not met.
met. requirements were requirements were
met. met, but several were
not.

Spelling and There are no spelling There is one spelling There are 2-3 spelling The final draft has
Punctuation or punctuation errors or punctuation error and punctuation more than 3 spelling
in the final draft. in the final draft. errors in the final and punctuation
Character and place draft. errors.
names that the author
invented are spelled
consistently
throughout.
Appendix K
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh

Appendix K – Multiple Choice Questions

Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh
Beowulf Unit AP Literature and Composition Mrs. O’Rayeh