Instituted Lesson

Subject Area &  English 1 (mostly 9th, one student in 11th, one student in 12th)
Grade Level
Unit Title  The Boy in the Striped Pajamas

Target Concepts  How does figurative language impact the theme and meaning of a poem?
“Big Questions”  How important is the idea of keeping theme in mind when choosing different
figurative language for your poem?
Lesson Title &  Poetry: Theme and Figurative Language
Instructional  Students will be able to determine the theme of a text and analyze how it emerges
Objective and is shaped by specific details when we compare and contrast two texts themes
and they demonstrate theme in their own poems. Students will also be able to
determine the figurative meanings of words and phrases and analyze the impact of
those specific choices on the poem by finding it in their readings and demonstrating
it in their own writing. Lastly, students will be able to gather ideas from text,
multimedia, or personal experiences to write narrative-style poetry that uses precise
words and phrases, telling details, and sensory language to convey a vivid picture
of the experiences or events.
Assessment  Students will be constructing their own poem with an overall theme and 4
(Formative and examples of figurative language. Rubric is attached.
Summative)  Compare/contrast chart for completeness (10 differences, 5 similarities)
Evaluation
Materials &  Laptop
Media  Speakers
 Poetry handouts: “Do Not Go Gentle into That Good Night” by Dylan Thomas and
“I Cannot Forget” By Alexander Kimel
 Venn Diagram to compare/contrast themes, figurative language, and other elements
of the poems.
 Figurative Language handout
Technology  https://www.youtube.com/watch?v=2GZfcr3zqSo “I Cannot Forget” By Alexander
Kimel read aloud
 https://www.youtube.com/watch?v=1mRec3VbH3w “Do Not Go Gentle Into That
Good Night” by Dylan Thomas, read by Dylan Thomas
Standards  6.1 Determine a theme of a text and analyze its development over the course of the
text including how it emerges and is shaped and refined by specific details; provide
an objective summary of the text.
 9.1 Determine the figurative and connotative meanings of words and phrases;
analyze the impact of specific word choices on meaning and tone.
 3.1 Gather ideas from texts, multimedia, and personal experience to write
narratives that:
o f. use precise words and phrases, telling details, and sensory language to
convey a vivid picture of the experiences, events, setting, and/or characters;
EEDA Issues  This lesson allows students construct something important to them by choosing
their own theme to keep in mind.
 This lesson shows students the importance of looking deeper into the text to get a
 better meaning.
Instructional  Warm-up: Students will begin by working on the Figurative Language worksheet in
Procedures which they have to find definitions and examples for elements of figurative
language
o Students will share their examples with the rest of the class, try to call on
two people per example and only one for rhyme scheme since that will be
longer
o Remind them this will help them later
 Students will be given handouts of both poems and the Venn Diagram
o I will play the audio of both authors reading their work
o Make sure to discuss the theme in both texts, asking them to try to find it,
also have them “help” you point out figurative language in the poems by
highlighting examples on their papers.
 Make sure to discuss the rhyme scheme of the villanelle
o Direct their attention to the Venn Diagram and instruct them to at least write
10 differences and 5 similarities.
 Remind them to discuss them, figurative language usage, topic,
mood of the poems.
 After giving them time to work on that, it is their turn to write a poem. Handout
the rubric, prompt, and blank paper for them to write on.
o Explain they can pick any topic as long as their theme is clear
o They cannot use one type of figurative language more than twice, remind
them to look at their worksheet from warmup to remind them of what they
can use
 They must underline or highlight where they use figurative language
o Remind them it is a work of art so they must make sure to edit it before
turning it in.
o While they write they can bounce ideas off of their peers surrounding them.
Differentiation  When writing their poem, they can choose what to write about and what
figurative language they want to use.
 When working on the warm up they can share and come up with their own
examples.
Grading  The compare/contrast chart will be graded for completeness (they should have 10
differences and 5 similarities)
 Their poem will be graded by the attached rubric.

Research/Evidenc Cookson, P.W. (2007). The power of poetry. Teaching Pre K-8, 37(7), 14-15.
e of Student
Learning Palmer, B. C., Shackelford, V. S., & Miller, S. C. (2006). Bridging two worlds: Reading
comprehension, figurative language instruction, and the English-language
learner. Journal of Adolescent & Adult Literacy, 50(4), 258–267. https://doi-
org.login.library.coastal.edu:8443/10.1598/JAAL.50.4.2
IEP 504 ESOL  For my primarily Spanish and Portuguese speaking students, translations of the
poem:
o https://lyricstranslate.com/en/do-not-go-gentle-good-night-no-entres-d
%C3%B3cilmente-en-esa-noche-quieta.html (Spanish)
 o https://www.vagalume.com.br/john-cale/do-not-go-gentle-into-that-good-
night-traducao.html (Portuguese)
 More time will be allotted for students who require it.

Reflection  I think that students will be more excited about this excitement because it presents
(or Predictions) more freedom in creative choices
 This lesson seems like a lot to accomplish in a 90-minute block of time
 This lesson allows students to choose what they wish to write about and what they
want to use in their poem
 An addition to this project to further their writing could be the opportunity to create
art to go along with it for extra credit or the opportunity to present their writing to
others in small groups, then they can compare each other’s work.
 Reflections after: My teacher provided me with positives and suggestions after
teaching my first class, so as the day went on I was able to use her critiques and
make my lesson even better throughout the day. As the day progressed I gained my
teacher voice, used a timer to keep all of us on track, learned I really need a watch,
and learned how to better take control of the class by asserting myself.
 “I Cannot Forget: THE ACTION IN THE GHETTO OF ROHATYN, MARCH
1942.” (1942) by Alexander Kimel, Holocaust Survivor
English to Spanish Translation
Do I want to remember?
The peaceful ghetto, before the raid:
Children shaking like leaves in the wind.
Mothers searching for a piece of bread.
Shadows, on swollen legs, moving with fear.
No, I don’t want to remember, but how can I
forget?
Do I want to remember, the creation of hell?
The shouts of the Raiders, enjoying the hunt.
Cries of the wounded, begging for life.
Faces of mothers carved with pain.
Hiding Children, dripping with fear.
No, I don’t want to remember, but how can I
forget?
Do I want to remember, my fearful return?
Families vanished in the midst of the day.
The mass grave steaming with vapor of blood.
Mothers searching for children in vain.
The pain of the ghetto, cuts like a knife. No,
I don’t want to remember, but how can I
forget?
Do I want to remember, the wailing of the night?
The doors kicked ajar, ripped feathers floating the
air.
The night scented with snow-melting blood.
While the compassionate moon, is showing the way.
For the faceless shadows, searching for kin.
No, I don’t want to remember, but I cannot forget.
Do I want to remember this world upside down?
Where the departed are blessed with an instant
death.
While the living condemned to a short wretched
life,
And a long tortuous journey into unnamed place,
Converting Living Souls, into ashes and gas.
No. I Have to Remember and Never Let You Forget.
¿Quiero recordar?
El gueto pacífico, antes de la incursión:
Niños temblando como hojas en el viento.
Madres en busca de un trozo de pan.
Sombras, en las piernas hinchadas, moviéndose con
miedo.
No, no quiero recordar, pero ¿cómo puedo olvidar?
¿Quiero recordar, la creación del infierno?
Los gritos de los asaltantes, disfrutando de la caza.
Gritos de los heridos, pidiendo la vida.
Rostros de madres talladas con dolor.
Escondiendo niños, goteando de miedo.
No, no quiero recordar, pero ¿cómo puedo olvidar?
¿Quiero recordar, mi regreso temeroso?
Las familias desaparecieron en medio del día.
La fosa común humeante con vapor de sangre.
Madres en busca de hijos en vano.
El dolor del gueto, corta como un cuchillo.
No, no quiero recordar, pero ¿cómo puedo olvidar?
¿Quiero recordar, el lamento de la noche?
Las puertas se abrieron, las plumas rasgadas flotaban
en el aire.
La noche perfumada con la sangre que derrite la
nieve.
Mientras que la luna compasiva, está mostrando el
camino.
Para las sombras sin rostro, buscando parientes.
No, no quiero recordar, pero no puedo olvidar.
¿Quiero recordar este mundo al revés?
Donde los difuntos son bendecidos con una muerte
instantánea.
Mientras que los vivos condenados a una vida
miserable corta,
Y un largo viaje tortuoso hacia un lugar sin nombre,
Convertir almas vivas, en cenizas y gas.
No. Tengo que recordar y nunca te dejo olvidar.
 “Do Not Go Gentle Into That Good Night” ​(1951) by Dylan
Thomas
English to Spanish Translation
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is
right,
Because their words had forked no lightning
they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green
bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding
sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I
pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
No vayas gentilmente a esa buena noche,
La vejez debería arder y rave al final del día;
Rabia, rabia contra la muerte de la luz.
Aunque los sabios en su extremo saben que la
oscuridad es correcta,
Porque sus palabras no habían hecho ningún
rayo.
No vayas gentil en esa buena noche.
Buenos hombres, la última ola, llorando que
brillante.
Sus frágiles obras podrían haber bailado en una
bahía verde,
Rabia, rabia contra la muerte de la luz.
Hombres salvajes que capturaron y cantaron el
sol en vuelo.
Y aprendiendo, demasiado tarde, lo
entristecieron en su camino.
No vayas gentil en esa buena noche.
Hombres graves, cerca de la muerte, que ven
con visión cegadora.
Los ojos ciegos podrían brillar como meteoritos
y ser gay,
Rabia, rabia contra la muerte de la luz.
Y tú, mi padre, allá en la triste altura,
Maldición, bendíceme, ahora con tus fieras
lágrimas, te lo ruego.
No vayas gentil en esa buena noche.
Rabia, rabia contra la muerte de la luz.
 “I Cannot Forget: THE ACTION IN THE GHETTO OF ROHATYN, MARCH
1942.” (1942) by Alexander Kimel, Holocaust Survivor
English to Portuguese Translation
Do I want to remember?
The peaceful ghetto, before the raid:
Children shaking like leaves in the wind.
Mothers searching for a piece of bread.
Shadows, on swollen legs, moving with fear.
No, I don’t want to remember, but how can I
forget?
Do I want to remember, the creation of hell?
The shouts of the Raiders, enjoying the hunt.
Cries of the wounded, begging for life.
Faces of mothers carved with pain.
Hiding Children, dripping with fear.
No, I don’t want to remember, but how can I
forget?
Do I want to remember, my fearful return?
Families vanished in the midst of the day.
The mass grave steaming with vapor of blood.
Mothers searching for children in vain.
The pain of the ghetto, cuts like a knife. No,
I don’t want to remember, but how can I
forget?
Do I want to remember, the wailing of the night?
The doors kicked ajar, ripped feathers floating the
air.
The night scented with snow-melting blood.
While the compassionate moon, is showing the way.
For the faceless shadows, searching for kin.
No, I don’t want to remember, but I cannot forget.
Do I want to remember this world upside down?
Where the departed are blessed with an instant
death.
While the living condemned to a short wretched
life,
And a long tortuous journey into unnamed place,
Converting Living Souls, into ashes and gas.
No. I Have to Remember and Never Let You Forget.
Eu quero lembrar?
O gueto pacífico, antes do ataque:
Crianças tremendo como folhas ao vento.
Mães à procura de um pedaço de pão.
Sombras, nas pernas inchadas, movendo-se com medo.
Não, eu não quero lembrar, mas como posso
esquecer?
Eu quero lembrar, a criação do inferno?
Os gritos dos Raiders, aproveitando a caçada.
Gritos dos feridos, implorando por vida.
Rostos de mães esculpidas com dor.
Escondendo Crianças, pingando de medo.
Não, eu não quero lembrar, mas como posso
esquecer?
Eu quero lembrar, meu retorno com medo?
Famílias desapareceram no meio do dia.
A vala comum fumegando com vapor de sangue.
Mães à procura de crianças em vão.
A dor do gueto, corta como uma faca. Não,
eu não quero lembrar, mas como posso
esquecer?
Eu quero lembrar, o lamento da noite?
As portas chutaram entreabertas, penas rasgadas
flutuando no ar.
A noite perfumada com sangue derretendo a neve.
Enquanto a lua compassiva, está mostrando o caminho.
Para as sombras sem rosto, procurando por parentes.
Não, eu não quero lembrar, mas não posso esquecer.
Eu quero lembrar deste mundo de cabeça para baixo?
Onde os mortos são abençoados com uma morte
instantânea.
Enquanto os vivos condenados a uma vida miserável
curta,
E uma longa e tortuosa jornada em um lugar sem
nome,
Convertendo Living Souls em cinzas e gás. Não.
Eu tenho que lembrar e nunca deixar você
esquecer.
 “Do Not Go Gentle Into That Good Night” ​(1951) by Dylan
Thomas
English to Portuguese Translation
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is
right,
Because their words had forked no lightning
they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green
bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding
sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I
pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Não seja gentil nessa boa noite,
Velhice deve queimar e rave no final do dia;
Raiva, raiva contra a morte da luz.
Embora homens sábios no seu fim saibam que a
escuridão está certa,
Porque as palavras deles não tinham bifurcado
Não seja gentil nessa boa noite.
Bons homens, a última onda, chorando como é
brilhante
Seus frágeis atos poderiam ter dançado em uma
baía verde,
Raiva, raiva contra a morte da luz.
Homens selvagens que pegaram e cantaram o sol
em vôo,
E aprende, tarde demais, eles se entristeceram
no caminho,
Não seja gentil nessa boa noite.
Homens graves, perto da morte, que vêem com a
visão ofuscante
Olhos cegos podem brilhar como meteoros e ser
gay,
Raiva, raiva contra a morte da luz.
E você, meu pai, lá na triste altura,
Maldição, abençoe-me agora com suas lágrimas
ferozes, eu rezo.
Não seja gentil nessa boa noite.
Raiva, raiva contra a morte da luz.
NAME_________________________BLOCK_________DATE__________
 NAME_________________________BLOCK_________DATE__________
Poetry Assignment: It’s your turn to write a poem! Your poem must -

● have an identifiable theme or moral

● a title
● include FOUR examples of correctly utilized figurative language (underline
or highlight them) - do not use the same type of figurative language more
than once
● be free of grammatical errors
● follow the guidelines of the rubric

Category 4 3 2 1 0

Grammar and There are no errors in There are one or There are a few There are There are many
Conventions the poem. two errors that do errors that do some errors errors that make
not distract from not distract that make the poem difficult to
the meaning of the from the poem difficult understand.
poem. meaning of the to understand.
poem.
Figurative Poem has 4 examples of Poem has 4 Poem has 2 or 3 Poem has one No figurative
Language figurative language, and examples of examples of example of language is
student does not use figurative language, figurative figurative present.
they same type of but student has language. language.
figurative language used one type of
more than twice. figurative language
more than twice.
Theme The theme of the poem The theme of the The theme of The theme of There is no
is clear, and all lines of poem is clear, but the poem is the poem is evident theme.
poem support that some lines don’t stated, but not present, but
theme. contribute to the supported. unclear.
theme.
Structure There is a clear The structure of The structure The structure There is not a
structure to the poem the poem is evident, of the poem is of the poem is clear structure
(lines are not complete but there are some skewed by unclear, making to the poem, it is
sentences, stanzas are errors in stanza the meaning difficult to
clear if there are distinguishing placement and difficult to recognize as a
stanzas) stanzas or line line length. grasp. poem.
length.

Rough Draft
Name: __________________________________Date: _________Class Period: _____Desk:_____

Figurative Language

Definition Example
Personification

Simile

Metaphor

Alliteration

Repetition

Rhyme Scheme

Imagery