Georgia Common Core Coach, CCGPS Edition, World Literature, Level II

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Georgia Common Core Coach for World Literature and Informational Texts II, First Edition T144GA ISBN-13: 978-1-62362-055-4
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Contents
Unit 1 — Literature
Lesson 1: Reading Fiction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Whole Class A Problem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Small Group abridged from The Umbrella. . . . . . . . . . . . . . . . . . . . . . . . . 18
Independent Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Lesson 2: Reading Poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Whole Class selections from The Rubáiyát of Omar Khayyám. . . . . . . . . 30
Small Group The Passionate Shepherd to His Love. . . . . . . . . . . . . . . . . . 38
The Nymph’s Reply to the Shepherd . . . . . . . . . . . . . . . . . . 39
Lesson 3: Reading Drama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Whole Class abridged from The Misanthrope. . . . . . . . . . . . . . . . . . . . . . 42
Small Group abridged from An Enemy of the People. . . . . . . . . . . . . . . . 54
Lesson 4: Comparing Literature. . . . . . . . . . . . . . . . . . . . . . . . 65
Whole Class King Leir. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Small Group abridged from King Lear. . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Unit 2 — Informational Text
Lesson 5: Reading Articles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Whole Class Leonardo vs. Michelangelo: A Heavyweight Battle. . . . . . . 86
Small Group India’s Long Road to Independence . . . . . . . . . . . . . . . . . . . 96
Independent Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Common Core
Georgia Performance
Standards (GPS)
RL.11–12.1, RL.11–12.2,
RL.11–12.3, RL.11–12.5,
RL.11–12.6, RL.11–12.10,
SL.11–12.1, L.11–12.4.a
RL.11–12.1, RL.11–12.2,
RL.11–12.4, RL.11–12.5,
RL.11–12.10, SL.11–12.1,
L.11–12.4.b
RL.11–12.1, RL.11–12.2,
RL.11–12.3, RL.11–12.4,
RL.11–12.5, RL.11–12.10
RL.11–12.1, RL.11–12.2,
RL.11–12.3, RL.11–12.4,
RL.11–12.5, RL.11–12.7,
RL.11–12.10
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.5,
RI.11–12.10, SL.11–12.1,
L.11–12.6
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Lesson 6: Reading Persuasive Texts. . . . . . . . . . . . . . . . . . . 103
Whole Class Bicycles: A Viable Alternative to Public Transportation?. . 104
Small Group Central America: A “Can’t Miss” Travel Destination. . . . . 114
Lesson 7: Reading Historical Documents. . . . . . . . . . . . . . 119
Whole Class excerpted from A Vindication of the Rights of Woman. . . 120
Small Group abridged from “Speech to the European Parliament”. . . 130
Lesson 8: Reading Scientific and Technical Texts. . . . . . . 141
Whole Class The Discoveries of DNA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Small Group Protecting Our Ocean Heritage. . . . . . . . . . . . . . . . . . . . . . 150
Lesson 9: Reading Internet Sources. . . . . . . . . . . . . . . . . . . 157
Whole Class Voluntourism: Pros and Cons. . . . . . . . . . . . . . . . . . . . . . . . 158
Small Group The Rise of Voluntourism. . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Lesson 10: Comparing Informational Texts. . . . . . . . . . . . 173
Whole Class When Earth Shakes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Small Group Japan’s Triple Disaster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Common Core
Georgia Performance
Standards (GPS)
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.5,
RI.11–12.6, RI.11–12.10,
L.11–12.5.b
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.4,
RI.11–12.5, RI.11–12.6,
RI.11–12.10, L.11–12.6
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.4,
RI.11–12.5, RI.11–12.10,
SL.11–12.1
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.5,
RI.11–12.6, RI.11–12.10,
L.11–12.4.a, L.11–12.4.c,
L.11–12.4.d
RI.11–12.1, RI.11–12.2,
RI.11–12.3, RI.11–12.4,
RI.11–12.5, RI.11–12.6,
RI.11–12.7, RI.11–12.10,
L.11–12.6
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Lesson
3
Drama has been important to cultures
throughout the ages, and every aspect
of human nature and society—friendship,
love, phases of life, historical events,
current politics—has provided material for
playwrights. There’s something enjoyable
about watching people act out scenes that are
familiar, even if the play takes place in foreign
lands. Great plays transcend time and place
because their themes remain relevant.
In this lesson you will read parts of plays
by two of the world’s greatest playwrights.
Molière (born Jean-Baptiste Poquelin,
1622–1673) was a masterful French writer
of comedy. You will read a play he wrote in
1666, The Misanthrope, in which he uses
wit to poke fun at Parisian society.
Henrik Ibsen (1828–1906) was a Norwegian
playwright who often based his dramas
on social conditions and perceptions. An
Enemy of the People, written in 1883, is not
humorous, but like Molière’s play, it leaves us
questioning the power of society and the roles
people play in it.
Reading
Drama
Lesson 3 • Reading Drama 41
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Consider
Whole Class
ACT I.
Scene I
As the scene opens, Alceste is joined by his friend Philinte.
They are having a lively discussion about a point on which
they differ greatly: Alceste despises when people act in public
as though they like one another, even if they do not admire
one another at all. Alceste accuses Philinte of this type of
shallow behavior. In turn, Philinte says that Alceste needs to
learn how to act more graciously in public.
[Scene: At Paris, in Célimène’s House]
1 Philinte: But this rectitude, which you exact so
carefully in every case, this absolute integrity in
which you intrench yourself, do you perceive
it in the lady you love? As for me, I am
astonished that, appearing to be at
war with the whole human race,
you yet, notwithstanding every-
thing that can render it odious to
you, have found aught to charm
your eyes. And what surprises me still
more, is the strange choice your heart
has made. The sincere Eliante has a lik-
ing for you, the prude Arsinoé looks with
favour upon you, yet your heart does not
respond to their passion; whilst you wear
the chains of Célimène, who sports with
you, and whose coquettish humour and
by Molière
abridged from
What are some reasons people benefit from living in groups?
Can you truly love someone whose values differ from yours?
WORD CHOICE Playwrights
carefully choose words to express
certain ideas or feelings, or for a
specific effect. Molière titles his
play The Misanthrope. Look up
misanthrope in the dictionary. Why
might Molière have chosen this
word for the title?
Figurative Language
Writers use language figuratively
to describe feelings or characters
or to emphasize ideas. Philinte
says Alceste “wears the chains
of Célimène.” What does he
mean by this?
Alceste, in love with Célimène.
Philinte, his friend.
Oronte, in love with Célimène.
Célimène, beloved by Alceste.
Eliante, her cousin.
Arsinoé, Célimène’s friend.
Acaste, a marquis.
Clitandre, a marquis.
Basque, servant to Célimène.
An Officer of the Maréchaussée.
42 Lesson 3 • Reading Drama
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Whole Class
malicious wit seems to accord so well with the manner of the times.
How comes it that, hating these things as mortally as you do, you
endure so much of them in that lady? Are they no longer faults in so
sweet a charmer? Do not you perceive them, or if you do, do you
excuse them?
Alceste: Not so. The love I feel for this young widow does not make
me blind to her faults, and, notwithstanding the great passion with
which she has inspired me, I am the first to see, as well as to con-
demn, them. But for all this, do what I will, I confess my weakness,
she has the art of pleasing me. In vain I see her faults; I may even
blame them; in spite of all, she makes me love her. Her charms
conquer everything, and, no doubt, my sincere love will purify her
heart from the vices of our times.
Philinte: If you accomplish this, it will be no small
task. Do you believe yourself beloved by her?
Alceste: Yes, certainly! I should not love her at all,
did I not think so.
5 Philinte: But if her love for you is so apparent,
how comes it that your rivals cause you so
much uneasiness?
Alceste: It is because a heart, deeply
smitten, claims all to itself; I come here
only with the intention of telling her
what, on this subject, my feelings
dictate. . . .
A man named Oronte enters as the
scene continues.
Words with Multiple Meanings
Some words have acquired additional meanings that are based on
the original meaning. Readers have to determine which meaning of
the word is being used in a sentence by paying attention to context.
bond stand conclusion
natural express
Vocabulary Strategy
CENTRAL IDEA The central
idea of a work is what it is mostly
about. From what you have read
so far, how would you describe the
central idea?
Inference Readers often have
to make inferences, or logical
assumptions, about characters and
their feelings or motivations. From
the questions Philinte asks, what
can you infer about Philinte’s opin-
ion of Célimène?
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Oronte: [to Alceste] I have been informed yonder, that Eliante
and Célimène have gone out to make some purchases. But as I
heard that you were here, I came to tell you, most sincerely, that
I have conceived the greatest regard for you, and that, for a long
time, this regard has inspired me with the most ardent wish to be
reckoned among your friends. Yes; I like to do homage to merit; and
I am most anxious that a bond of friendship should unite us. I sup-
pose that a zealous friend, and of my standing, is not altogether to
be rejected. [All this time Alceste has been musing and seems not
to be aware that Oronte is addressing him. He looks up only when
Oronte says to him]—It is to you, if you please, that this speech is
addressed.
Alceste: To me, sir?
Oronte: To you. Is it in any way offensive to you?
10 Alceste: Not in the least. But my surprise is very great; and I did
not expect that honour.
Oronte: The regard in which I hold you ought not to astonish you,
and you can claim it from the whole world.
Alceste: Sir . . .
Oronte: Our whole kingdom contains nothing above the dazzling
merit which people discover in you.
Alceste: Sir . . .
15 Oronte: Yes; for my part, I prefer you to the most important in it.
Alceste: Sir . . .
Oronte: May Heaven strike me dead, if I lie! And, to convince you,
on this very spot, of my feelings, allow me, sir, to embrace you with
all my heart, and to solicit a place in your friendship. Your hand, if
you please. Will you promise me your friendship?
STRUCTURE Playwrights choose
their structures carefully to allow
their works to develop in meaning-
ful ways. The play opens with long
speeches by Philinte and Alceste,
and when Oronte enters the scene,
we find another long speech. Why
might Molière use this structure?
CHARACTER In dramas, authors
must rely on dialogue and stage
directions for characterization.
What do you learn about Alceste
from the stage directions in
paragraph 7 and his dialogue on
this page? What type of person
does he seem to be?
Figurative Language
Figurative language is language
that carries meaning beyond the
literal one. Hyperbole, a type of
figurative language, is an exagger-
ation that authors use for dramatic
effect or humor. Underline the
hyperbole in paragraph 17. How
does the hyperbole affect the
scene and help you understand
Oronte’s character?
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Whole Class
Alceste: Sir . . .
Oronte: What! you refuse me?
20 Alceste: Sir, you do me too much honour; but friendship is a
sacred thing, and to lavish it on every occasion is surely to profane
it. Judgment and choice should preside at such a compact; we
ought to know more of each other before engaging ourselves; and
it may happen that our dispositions are such that we may both of
us repent of our bargain.
Oronte: Upon my word! that is wisely said; and I esteem you all the
more for it. Let us therefore leave it to time to form such a pleasing
bond; but, meanwhile I am entirely at your disposal. If you have
any business at Court, everyone knows how well I stand with the
King; I have his private ear; and, upon my word, he treats me in
everything with the utmost intimacy. In short, I am yours in every
emergency; and, as you are a man of brilliant parts, and to inaugu-
rate our charming amity, I come to read you a sonnet which I
made a little while ago, and to find out whether it be good enough
for publicity.
Alceste: I am not fit, sir, to decide such a matter. You will therefore
excuse me.
Oronte: Why so?
Alceste: I have the failing of being a little more sincere in those
things than is necessary.
25 Oronte: The very thing I ask; and I should have reason to com-
plain, if, in laying myself open to you that you might give me your
frank opinion, you should deceive me, and disguise anything
from me.
Alceste: If that be the case, sir, I am perfectly willing.
Oronte: Sonnet . . . It is a sonnet . . . Hope . . . It is to a lady who flat-
tered my passion with some hope. Hope . . . They are not long,
pompous verses, but mild, tender and melting little lines.
[At every one of these interruptions he looks at Alceste.]
Alceste: We shall see.
CENTRAL IDEA Authors develop
a central idea over the course of a
literary work. How do Oronte’s
request for friendship and
Alceste’s response in paragraph 20
advance the development of the
central idea?
TEXT EVIDENCE Playwrights
often use what characters say
about themselves and about
others to hint at how they feel or
think. Readers must then use
those clues to make inferences
about the characters. Does Alceste
care that his attitude may hurt
people’s feelings? Underline evi-
dence that supports your opinion.
CHECK IN Make sure you understand what you have read so far by
answering the following question: Why does Oronte want to be friends
with Alceste and to read him a sonnet?
TONE The tone of a play is the
playwright’s attitude toward the
characters or subject. An author’s
choice of words often reveals his
or her tone. How does Molière
feel about Oronte? How does he
want the reader to receive him?
Underline words in Oronte’s
dialogue as well as any clues
in the stage directions that
support your response.
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Oronte: Hope . . . I do not know whether the style will strike
you as sufficiently clear and easy and whether you will
approve of my choice of words.
30 Alceste: We shall soon see, sir.
Oronte: Besides, you must know that I was only a quarter of an
hour in composing it.
Alceste: Let us hear, sir; the time signifies nothing.
Oronte: [reads]
Hope, it is true, oft gives relief,
Rocks for a while our tedious pain
But what a poor advantage, Phillis
When nought remains, and all is gone!
Philinte: I am already charmed with this little bit.
35 Alceste: [softly to Philinte] What! do you mean to tell me
that you like this stuff?
Oronte:
You once showed some complaisance,
But less would have sufficed,
You should not take that trouble
To give me nought but hope.
Philinte: In what pretty terms these thoughts are put!
Alceste: How now! you vile flatterer, you praise this rubbish!
Oronte:
If I must wait eternally,
My passion, driven to extremes,
Will fly to death.
Your tender cares cannot prevent this,
Fair Phillis, aye we’re in despair,
When we must hope for ever.
FIGURATIVE LANGUAGE
Poets often use personification—
attributing human qualities to
animals, ideas, or objects—to
emphasize emotions or describe
feelings or ideas. Oronte uses per-
sonification in his sonnet. What
is he personifying? Is this figura-
tive language effective? Why or
why not?
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Whole Class
40 Philinte: The conclusion is pretty, amorous, admirable.
Alceste: [softly, and aside to Philinte] A plague on the conclu-
sion! I wish you had concluded to break your nose, you poisoner to
the devil!
Philinte: I never heard verses more skillfully turned.
Alceste: [softly, and aside] Zounds! . . .
Oronte: [to Philinte] You flatter me; and you are under the
impression perhaps . . .
45 Philinte: No, I am not flattering at all.
Alceste: [softly, and aside] What else are you doing, you wretch?
Oronte: [to Alceste] But for you, you know our agreement. Speak
to me, I pray, in all sincerity.
Alceste: These matters, Sir, are always more or less delicate, and
everyone is fond of being praised for his wit. But I was saying one
day to a certain person, who shall be nameless, when he showed
me some of his verses, that a gentleman ought at all times to exer-
cise a great control over that itch for writing which sometimes
attacks us, and should keep a tight rein over the strong propensity
which one has to display such amusements; and that, in the fre-
quent anxiety to show their productions, people are frequently
exposed to act a very foolish part.
Oronte: Do you wish to convey to me by this that I am wrong
in desiring . . .
50 Alceste: I do not say that exactly. But I told him that writing with-
out warmth becomes a bore; that there needs no other
weakness to disgrace a man; that, even if people, on
the other hand, had a hundred good qualities,
we view them from their worst sides.
Oronte: Do you find anything to object
to in my sonnet?
Alceste: I do not say that. But, to keep
him from writing, I set before his
eyes how, in our days, that desire
had spoiled a great many very
worthy people.
FIGURATIVE LANGUAGE
An idiom, also known as a saying
or figure of speech, is a type of
figurative language commonly
used by members of the same cul-
ture. You probably recognize, and
even use, many idioms in your
everyday speech. Underline and
explain the idioms Alceste uses in
paragraph 48.
STRUCTURE Playwrights use
stage directions to indicate charac-
ter actions. In this scene, the stage
directions indicate that Alceste
makes several comments that only
Philinte can hear. In paragraph 43,
Alceste says something that only
the audience is intended to hear.
What is the effect of this struc-
ture? What do the whispered
remarks and the aside help you
understand about Alceste?
CC13_ELA_L2W_L3_SE 47 5/3/13 8:37 AM

Oronte: Do I write badly? Am I like them in any way?
Alceste: I do not say that. But, in short, I said to him, What press-
ing need is there for you to rhyme, and what the deuce drives you
into print? If we can pardon the sending into the world of a badly-
written book, it will only be in those unfortunate men who write
for their livelihood. Believe me, resist your temptations, keep these
effusions from the public, and do not, how much so-ever you may
be asked, forfeit the reputation which you enjoy at Court of being a
man of sense and a gentleman, to take, from the hands of a greedy
printer, that of a ridiculous and wretched author. That is what
I tried to make him understand.
55 Oronte: This is all well and good, and I seem to understand you.
But I should like to know what there is in my sonnet to . . .
Alceste: Candidly, you had better put it in your closet. You
have been following bad models, and your expressions are not
at all natural. . . .
SETTING Playwrights choose
settings—or the time and locations
a story takes place—just as
carefully as they choose their
words. The entire play takes play
in Célimène’s house. Based on the
introduction to the scene and what
you have read so far, how might
the setting affect the plot?
CHARACTER Writers use
descriptive details to recreate
experiences and help the reader
visualize a character. Circle the
words that Basque uses to
describe how the visitor looks.
What do you visualize? Why does
Basque’s description get a reaction
from Célimène?
ACT II.
Scene VI
Act II also takes place in Célimène’s home. Alceste expresses anger at
Célimène for allowing other men to call on her and write her letters.
Different men come and go, including Philinte. Célimène refuses to
explain or defend her actions to Alceste. Her servant Basque inter-
rupts their discussions.
Basque: [to Alceste] There is a man down stairs, sir, who wishes
to speak to you on business which cannot be postponed.
Alceste: Tell him that I have no such urgent business.
Basque: He wears a jacket with large plaited skirts embroidered
with gold.
60 Célimène: [to Alceste] Go and see who it is, or else let him
come in.
INFERENCE An inference is an
educated guess people make when
something is not directly stated.
People use details or clues and
their personal experience to infer
what someone means. Why does
Oronte infer that Alceste does not
like his sonnet?
answering the following question: Summarize the scene. What did you
learn about each character?
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Whole Class
Conflict The conflict is the
main struggle or problem in a
play or story. What conflict is
introduced here? Between which
characters is the conflict?
Character One technique
authors use to develop characters
is the way they react to each other
and to situations. How does
Alceste react to the summons?
How does Philinte react to Alceste
being summoned? What does this
tell you about their characters?
Scene VII
Alceste: [going to meet the guard] What may be
your pleasure? Come in, sir.
Guard: I would have a few words privately with
you, sir.
Alceste: You may speak aloud, sir, so as to let
me know.
Guard: The Marshals of France, whose com-
mands I bear, hereby summon you to appear
before them immediately, sir.
65 Alceste: Whom? Me, sir?
Guard: Yourself.
Alceste: And for what?
Philinte: [to Alceste] It is this ridiculous
affair between you and Oronte.
Célimène: [to Philinte] What do you mean?
70 Philinte: Oronte and he have been insulting
each other just now about some trifling verses
which he did not like; and the Marshals wish to
nip the affair in the bud.
Alceste: Well, I shall never basely submit.
Philinte: But you must obey the summons: come, get ready.
Alceste: How will they settle this between us? Will the edict of
these gentlemen oblige me to approve of the verses which are the
cause of our quarrel? I will not retract what I have said; I think
them abominable.
Philinte: But with a little milder tone . . .
75 Alceste: I will not abate one jot; the verses are execrable.
Philinte: You ought to show a more accommodating spirit. Come
along.
Alceste: I shall go, but nothing shall induce me to retract.
Philinte: Go and show yourself.
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Alceste: Unless an express order from the King himself
commands me to approve of the verses which cause all this
trouble, I shall ever maintain, egad, that they are bad, and that
a fellow deserves hanging for making them. [to Clitandre
and Acaste who are laughing] Hang it! Gentlemen, I did not think
I was so amusing.
80 Célimène: Go quickly whither you are wanted.
Alceste: I am going, Madam; but shall come back here to finish
our discussion. . . .
FIGURATIVE LANGUAGE
Playwrights frequently use idioms
to make dialogue more realistic.
Circle the idiom Alceste uses in
paragraph 82. What does it mean?
How does it help characterize
Alceste?
As the play progresses, Alceste and Oronte continue to have their dif-
ferences. By Act V, they are battling over the affections of Célimène.
There are many men who court Célimène, and a letter is exposed
in which she makes fun of every one of them.
Despite this, Alceste remains steadfast in
his love for her. However, he has vowed to
leave all of society behind and go some-
where to live alone, away from all of the
falseness around him. In the next to the
last scene of the play, he goes to speak to
Célimène again.
Alceste: [to Célimène] Well! I have held
my tongue, notwithstanding all I have
seen, and I have let everyone have his say
before me. Have I controlled myself long
enough? and will you now allow me . . .
Célimène: Yes, you may say what you
like; you are justified when you com-
plain, and you may reproach me with
anything you please. I confess that I am
in the wrong; and overwhelmed by con-
fusion I do not seek by any idle excuse to
palliate my fault. The anger of the others
I have despised; but I admit my guilt
towards you. No doubt, your resentment
FIGURATIVE LANGUAGE
Authors sometimes use hyperbole,
or exaggeration, as a method of
characterization. Underline the
hyperbole in paragraph 79. What
does it help you understand about
Alceste’s personality?
answering the following questions: Why is Alceste being summoned? How
does the summons move the plot forward?
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Whole Class
is just; I know how culpable I must appear to you, that everything
speaks of my treachery to you, and that, in short, you have cause to
hate me. Do so, I consent to it.
Alceste: But can I do so, you traitress? Can I thus get the better of
all my tenderness for you? And although I wish to hate you with all
my soul, shall I find a heart quite ready to obey me. [to Eliante
and Philinte] You see what an unworthy passion can do, and I
call you both as witnesses of my infatuation. Nor, truth to say, is
this all, and you will see me carry it out to the bitter end, to
show you that it is wrong to call us wise, and that in all hearts
there remains still something of the man. [to Célimène] Yes,
perfidious creature, I am willing to forget your crimes. I can find,
in my own heart, an excuse for all your doings, and hide them
under the name of a weakness into which the vices of the age
betrayed your youth, provided your heart will second the design
which I have formed of avoiding all human creatures, and that
you are determined to follow me without delay into the solitude in
which I have made a vow to pass my days. It is by that only, that, in
everyone’s opinion, you can repair the harm done by your letters,
and that, after the scandal which every noble heart must abhor, it
may still be possible for me to love you.
85 Célimène: What! I renounce the world before I grow old, and bury
myself in your wilderness!
Alceste: If your affection responds to mine what need the rest of
the world signify to you? Am I not sufficient for you?
Célimène: Solitude is frightful to a widow of twenty. I do not feel
my mind sufficiently grand and strong to resolve to adopt such a
plan. If the gift of my hand can satisfy your wishes, I might be
induced to tie such bonds; and marriage . . .
Alceste: No. My heart loathes you now, and this refusal alone
effects more than all the rest. As you are not disposed, in those
sweet ties, to find all in all in
me, as I would find all in all in
you, begone, I refuse your
offer, and this much-felt out-
rage frees me forever from
your unworthy toils.
Imagery Writers use language
in interesting ways to create
images or emphasize ideas. What
does Célimène mean when she
says “bury myself in your wilder-
ness!”? What is the purpose
of this image? What does it
emphasize? Explain.
THEME The theme of a literary
work is the universal truth it pro-
motes about people, society, or
nature. A work may have more
than one theme. One theme
Molière shares is that living by
your morals must involve compro-
mise if you exist in a society. What
is another theme of this play?
WORD CHOICE The words an
author chooses may have negative
or positive connotations, or emo-
tional associations. Underline the
words with negative connotations
in paragraph 84. Why might
Molière have chosen such power-
ful words for this scene? How do
they help you understand the
characters and develop the
central idea?
SUMMARY A summary is a
restatement in your own words
of the main ideas in a text.
Summarize the action in Scene VII.
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Whole Class
Introducing and Developing Characters
Playwrights introduce characters in the stage directions at the beginning of
the play. Often, these stage directions provide some basic information about the
characters, such as their relationships to one another. At the beginning of The
Misanthrope, Molière provides brief descriptions of each character, such as:
Alceste, in love with Célimène. Oronte, in love with Célimène.
Philinte, his friend. Célimène, beloved by Alceste.
In a drama, the dialogue, rather than prose descriptions, drives the action and
serves to develop the characters and their relationships. Consider this example
from The Misanthrope, which shows the friendly relationship between Alceste and
Philinte.
Alceste: I will not abate one jot; the verses are execrable.
Philinte: You ought to show a more accommodating spirit. Come along.
Alceste: I shall go, but nothing shall induce me to retract.
Philinte: Go and show yourself.
Choose one of the characters from The Misanthrope. How does Molière develop
that character? In the chart, write examples from the beginning, the middle, and
the end of the play that show the character’s development.
Character name:
Beginning Middle End
Try It
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Whole Class
Vocabulary Strategy
Words with Multiple Meanings
Consider how context clues can help you determine how a word with multiple
meanings is used. Use context clues from the play to determine each word’s
meaning and write a definition for it. Consider the word’s other possible
meanings. Then write a sentence using a meaning different from the one in
the play.
1. bond:

2. stand:

3. conclusion:

4. natural:

5. express:

Comprehension Check
Answer these questions about the selection you have just read. Use details from
the selection to support your responses.
1. Who is the protagonist, or the character the audience is most likely to identify
with? Explain.
2. What examples from the play show how Célimène treats people? What does
this reveal about her character?
3. How is Oronte’s poem important to the play’s plot?
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Small Group
Consider
CHARACTER In the cast of char-
acters, what does the note etc. tell
you about Peter Stockmann?
The play is set in a coastal town in southern Norway, where new
Baths have just been developed to attract tourism. Baths were
resorts that featured mineral spas, which were believed to help
improve health and even cure some illnesses. The first act takes
place in the living room of Dr. Stockmann’s home, one evening
around dinnertime. About halfway through the act, Petra arrives
home from work and gives the doctor a letter he has been hoping to
receive for several days. He goes into the study to read it and emerges
shortly to tell all who are present what the letter is about.
An Enemy of the PeopleAn Enemy of the People
Dramatis Personae
Dr. Thomas Stockmann, Medical Officer of the Municipal Baths.
Mrs. Stockmann, his wife.
Petra (their daughter), a teacher.
Ejlif Morten (their sons, aged 13 and 10 respectively).
Peter Stockmann (the Doctor’s elder brother), Mayor of the Town
and Chief Constable, Chairman of the Baths’ Committee, etc.
Morten Kiil, a tanner (Mrs. Stockmann’s adoptive father).
Hovstad, editor of the “People’s Messenger.”
Billing, sub-editor.
Captain Horster.
Aslaksen, a printer.
by Henrik Ibsen
abridged from
What should be the primary goal of a public servant?
What makes people truly powerful?
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Small Group
CHARACTER How does Petra’s
response contrast with those of
the other characters? What does
that tell you about her possible
role in this play?
FIGURATIVE LANGUAGE
Underline the figurative language
Dr. Stockmann uses to describe
people and the Baths. What
do these descriptions tell you
about Dr. Stockmann and
the townspeople?
ACT I
1 Dr. Stockmann: [waving the letter] Well, now the town will have
something new to talk about, I can tell you!
Billing: Something new?
Mrs. Stockmann: What is this?
Dr. Stockmann: A great discovery, Katherine.
5 Hovstad: Really?
Mrs. Stockmann: A discovery of yours?
Dr. Stockmann: A discovery of mine. [Walks up and down.] Just let
them come saying, as usual, that it is all fancy and a crazy man’s
imagination! But they will be careful what they say this time, I can
tell you!
Petra: But, father, tell us what it is.
Dr. Stockmann: Yes, yes—only give me time, and you shall know
all about it. If only I had Peter here now! It just shows how we men
can go about forming our judgments, when in reality we are as
blind as any moles—
10 Hovstad: What are you driving at, Doctor?
Dr. Stockmann: [standing still by the table] Isn’t it the universal
opinion that our town is a healthy spot?
Hovstad: Certainly.
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Dr. Stockmann: Quite an unusually healthy spot, in fact—a place
that deserves to be recommended in the warmest possible manner
either for invalids or for people who are well—
Mrs. Stockmann: Yes, but my dear Thomas—
15 Dr. Stockmann: And we have been recommending it and praising
it—I have written and written, both in the “Messenger” and in
pamphlets . . .
Hovstad: Well, what then?
Dr. Stockmann: And the Baths—we have called them the “main
artery of the town’s life-blood,” the “nerve-centre of our town,”
and the devil knows what else—
Billing: “The town’s pulsating heart” was the expression I once
used on an important occasion.
Dr. Stockmann: Quite so. Well, do you know what they really are,
these great, splendid, much praised Baths, that have cost so much
money—do you know what they are?
20 Hovstad: No, what are they?
Mrs. Stockmann: Yes, what are they?
Dr. Stockmann: The whole place is a pest-house!
Petra: The Baths, father?
Mrs. Stockmann: [at the same time] Our Baths?
25 Hovstad: But, Doctor—
Billing: Absolutely incredible!
Dr. Stockmann: The whole Bath establishment is a whited, poi-
soned sepulchre, I tell you—the gravest possible danger to the
public health! All the nastiness up at Molledal, all that stinking
filth, is infecting the water in the conduit-pipes leading to the
reservoir; and the same cursed, filthy poison oozes out on the
shore too—
Horster: Where the bathing-place is?
Dr. Stockmann: Just there.
30 Hovstad: How do you come to be so certain of all this, Doctor?
Dr. Stockmann: I have investigated the matter most conscien-
tiously. For a long time past I have suspected something of the
kind. Last year we had some very strange cases of illness among
the visitors—typhoid cases, and cases of gastric fever—
Mrs. Stockmann: Yes, that is quite true.
Dr. Stockmann: At the time, we supposed the visitors had been
infected before they came; but later on, in the winter, I began to
have a different opinion; and so I set myself to examine the water,
as well as I could.
Setting How is the play’s set-
ting an important part of the plot?
Imagery Circle the words
Dr. Stockmann uses to create a
vivid image of the Baths. How do
these words affect your impression
of the Baths?
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1
infusoria microscopic organisms
Small Group
Mrs. Stockmann: Then that is what you have been so busy with?
35 Dr. Stockmann: Indeed I have been busy, Katherine. But here
I had none of the necessary scientific apparatus; so I sent samples,
both of the drinking-water and of the sea-water, up to the
University, to have an accurate analysis made by a chemist.
Hovstad: And have you got that?
Dr. Stockmann: [showing him the letter] Here it is! It proves the
presence of decomposing organic matter in the water—it is full of
infusoria1
. The water is absolutely dangerous to use, either inter-
nally or externally.
Mrs. Stockmann: What a mercy you
discovered it in time.
Dr. Stockmann: You may well say so.
40 Hovstad: And what do you propose
to do now, Doctor?
Dr. Stockmann: To see the matter
put right, naturally.
Hovstad: Can that be done?
Dr. Stockmann: It must be done.
Otherwise the Baths will be abso-
lutely useless and wasted. But we
need not anticipate that; I have a very
clear idea what we shall have to do.
Mrs. Stockmann: But why have you
kept this all so secret, dear?
45 Dr. Stockmann: Do you suppose
I was going to run about the town
gossiping about it, before I had
absolute proof? No, thank you.
I am not such a fool.
Petra: Still, you might have told us—
Dr. Stockmann: Not a living soul.
But tomorrow you may run around
to the old Badger—
Mrs. Stockmann: Oh, Thomas!
Thomas!
TEXT EVIDENCE Which details
from the text support the idea that
Dr. Stockmann is a determined
individual? Underline these details.
Words with Multiple
Meanings What does the
word matter mean as used in
paragraph 37? What other
meanings does the word have?
CHARACTER What do para-
graphs 45–49 reveal about
Dr. Stockmann’s character?
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Dr. Stockmann: Well, to your grandfather, then. The old boy will
have something to be astonished at! I know he thinks I am
cracked—and there are lots of other people who think so, too, I
have noticed. But now these good folks shall see—they shall just
see! [Walks about, rubbing his hands.] There will be a nice upset in
the town, Katherine; you can’t imagine what it will be. All the
conduit-pipes will have to be relaid.
50 Hovstad: [getting up] All the conduit-pipes—?
Dr. Stockmann: Yes, of course. The intake is too low down; it will
have to be lifted to a position much higher up.
Petra: Then you were right after all.
Dr. Stockmann: Ah, you remember, Petra—I wrote opposing the
plans before the work was begun. But at that time no one would lis-
ten to me. Well, I am going to let them have it now. Of course I have
prepared a report for the Baths Committee; I have had it ready for a
week, and was only waiting for this to come. [Shows the letter.] Now
it shall go off at once. [Goes into his room and comes back with some
papers.] Look at that! Four closely written sheets!—and the letter
shall go with them. Give me a bit of paper, Katherine—something
to wrap them up in. That will do! Now give it to-to-[stamps his
foot]—what the deuce is her name?—give it to the maid, and tell
her to take it at once to the Mayor. [Mrs. Stockmann takes the
packet and goes out through the dining-room.]
ACT II
In Act II, Dr. Stockmann’s friends all promise to support him as he
attempts to set things right at the Baths. His brother, however, has
different ideas about the situation, which he expresses during a visit
to Dr. Stockmann’s home.
Peter Stockmann: Your report has not convinced me that the con-
dition of the water at the Baths is as bad as you represent it to be.
55 Dr. Stockmann: I tell you it is even worse!—or at all events it will
be in summer, when the warm weather comes.
Peter Stockmann: As I said, I believe you exaggerate the matter
considerably. A capable physician ought to know what measures to
take—he ought to be capable of preventing injurious influences or
of remedying them if they become obviously persistent.
Dr. Stockmann: Well? What more?
Peter Stockmann: The water supply for the Baths is now an estab-
lished fact, and in consequence must be treated as such. But
probably the Committee, at its discretion, will not be disinclined to
consider the question of how far it might be possible to introduce
certain improvements consistently with a reasonable expenditure.
FIGURATIVE LANGUAGE What
does the idiom “I am cracked”
mean? What clues help you
determine its meaning?
SUMMARY Summarize the
events of the play up to this point.
CHARACTER Remember that
Peter and Dr. Stockmann are
brothers. What kind of relationship
do they have?
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Small Group
TONE Think about Peter and
Dr. Stockmann’s dialogue. What is
the tone of each man’s comments?
How is Ibsen using tone to
influence how readers feel
about each man?
Words with Multiple
meanings What does the word
guard mean in Peter’s dialogue in
paragraph 64? How is this word
related to the other meanings of
the word?
Inference What can you infer
about Peter based on his request
to keep the matter private? What
does it reveal about his character?
CENTRAL IDEA How is
Dr. Stockmann similar to Alceste
in The Misanthrope? Do you think
that he, like Alceste, will have
trouble living in society? Why?
Dr. Stockmann: And do you suppose that I will have anything to
do with such a piece of trickery as that?
60 Peter Stockmann: Trickery!!
Dr. Stockmann: Yes, it would be a trick—a fraud, a lie, a downright
crime towards the public, towards the whole community!
Peter Stockmann: I have not, as I remarked before, been able to
convince myself that there is actually any imminent danger.
Dr. Stockmann: You have! It is impossible that you should not be
convinced. I know I have represented the facts absolutely truth-
fully and fairly. And you know it very well, Peter, only you won’t
acknowledge it. It was owing to your action that both the Baths
and the water conduits were built where they are; and that is what
you won’t acknowledge—that damnable blunder of yours. Pooh!—
do you suppose I don’t see through you?
Peter Stockmann: And even if that were true? If I perhaps guard
my reputation somewhat anxiously, it is in the interests of the
town. Without moral authority I am powerless to direct public
affairs as seems, to my judgment, to be best for the common good.
And on that account—and for various other reasons too—it
appears to me to be a matter of importance that your report should
not be delivered to the Committee. In the interests of the public,
you must withhold it. Then, later on, I will raise the question and
we will do our best, privately; but, nothing of this unfortunate
affair not a single word of it—must come to the ears of the public.
65 Dr. Stockmann: I am afraid you will not be able to prevent that
now, my dear Peter.
Peter Stockmann: It must and shall be prevented.
Dr. Stockmann: It is no use, I tell you. There are too many people
that know about it.
Peter Stockmann: That know about it? Who? Surely you don’t
mean those fellows on the “People’s Messenger”?
Dr. Stockmann: Yes, they know. The liberal-minded independent
press is going to see that you do your duty. . . .
After Peter leaves the house, Dr. Stockmann’s wife and
daughter chime in with their ideas about what will happen
if Dr. Stockmann continues to try to force the town to
address the problem.
70 Mrs. Stockmann: But, dear Thomas, your brother
has power on his side.
Dr. Stockmann: Yes, but I have right on mine, I tell you.
Mrs. Stockmann: Oh yes, right—right. What is the use of having
right on your side if you have not got might?
Petra: Oh, mother!—how can you say such a thing!
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Dr. Stockmann: Do you
imagine that in a free
country it is no use having
right on your side? You are
absurd, Katherine. Besides,
haven’t I got the liberal-
minded, independent
press to lead the way, and
the compact majority
behind me? That is might
enough, I should think!
75 Mrs. Stockmann: But, good
heavens, Thomas, you don’t
mean to?
Dr. Stockmann: Don’t
mean to what?
Mrs. Stockmann: To set yourself up in opposition to your brother.
Dr. Stockmann: In God’s name, what else do you suppose I should
do but take my stand on right and truth?
Petra: Yes, I was just going to say that.
80 Mrs. Stockmann: But it won’t do you any earthly good. If they
won’t do it, they won’t.
Dr. Stockmann: Oho, Katherine! Just give me time, and you will
see how I will carry the war into their camp.
Mrs. Stockmann: Yes, you carry the war into their camp, and you
get your dismissal—that is what you will do.
Dr. Stockmann: In any case I shall have done my duty towards the
public—towards the community, I, who am called its enemy!
Mrs. Stockmann: But towards your family, Thomas? Towards your
own home! Do you think that is doing your duty towards those you
have to provide for?
85 Petra: Ah, don’t think always first of us, mother.
ACT IV
In Act III, the friends who promised to stand by Dr. Stockmann
express doubt about his convictions. As a result, in Act IV, he is
forced to defend himself in front of the whole town at a public meet-
ing. He reveals he has now determined that there are even more
burning issues to address than the situation at the Baths and gives
a political speech that leaves the crowd quite angry.
Hovstad: So it is only the distinguished men that are liberal-minded
in this country? We are learning something quite new! [Laughter.]
THEME In paragraph 74, Ibsen
is touching on a universal truth.
What is it? How do the brothers
embody the theme?
CHARACTER Petra and
Mrs. Stockmann have different
opinions. How do these women
act as foils for each other?
CONFLICT Which characters are
involved in this conflict with Dr.
Stockmann? What effect could
their relationships with Dr.
Stockmann have on the resolution
of the conflict?
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Small Group
Dr. Stockmann: Yes, that is part of my new discovery, too. And
another part of it is that broad-mindedness is almost precisely the
same thing as morality. That is why I maintain that it is absolutely
inexcusable in the “People’s Messenger” to proclaim, day in and
day out, the false doctrine that it is the masses, the crowd, the
compact majority, that have the monopoly of broad-mindedness
and morality—and that vice and corruption and every kind of
intellectual depravity are the result of culture, just as all the filth
that is draining into our Baths is the result of the tanneries up at
Molledal! [Uproar and interruptions. Dr. Stockmann is undis-
turbed, and goes on, carried away by his ardour, with a smile.] And
yet this same “People’s Messenger” can go on preaching that the
masses ought to be elevated to higher conditions of life! But, bless
my soul, if the “Messenger’s” teaching is to be depended upon, this
very raising up the masses would mean nothing more or less than
setting them straightway upon the paths of depravity! Happily the
theory that culture demoralises is only an old falsehood that our
forefathers believed in and we have inherited. No, it is ignorance,
poverty, ugly conditions of life, that do the devil’s work! In a house
which does not get aired and swept every day—my wife Katherine
maintains that the floor ought to be scrubbed as well, but that is a
debatable question—in such a house, let me tell you, people will
lose within two or three years the power of thinking or acting in a
moral manner. Lack of oxygen weakens the conscience. And there
must be a plentiful lack of oxygen in very many houses in this
town, I should think, judging from the fact that the whole compact
majority can be unconscientious enough to wish to build the
town’s prosperity on a quagmire of falsehood and deceit.
Aslaksen: We cannot allow such a grave accusation to be flung at a
citizen community.
A Citizen: I move that the Chairman direct the speaker to sit down.
90 Voices: [angrily] Hear, hear! Quite right! Make him sit down!
Dr. Stockmann: [losing his self-control] Then I will go and shout
the truth at every street corner! I will write it in other towns’ news-
papers! The whole country shall know what is going on here!
Hovstad: It almost seems as if Dr. Stockmann’s intention were
to ruin the town.
Dr. Stockmann: Yes, my native town is so dear to me that I would
rather ruin it than see it flourishing upon a lie.
Aslaksen: This is really serious. [Uproar and cat-calls.
Mrs. Stockmann coughs, but to no purpose; her husband
does not listen to her any longer.]
95 Hovstad: [shouting above the din] A man must be a public
enemy to wish to ruin a whole community!
FIGURATIVE LANGUAGE What
is Dr. Stockmann really referring to
when he describes a clean versus a
dirty house?
CENTRAL IDEA How has the
doctor’s view of morality changed?
Underline the phrase that indicates
his new view.
Figurative Language Circle
the simile Dr. Stockmann uses in
paragraph 87. What does he mean
by this comparison?
WORDS WITH MULTIPLE
MEANINGS Underline the
multiple-meaning word Aslaksen
uses in paragraph 88. What does
the word mean in this context?
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CHARACTER What change do
you sense in Petra in this para-
graph? How does this change help
reveal the theme?
Dr. Stockmann: [with growing fervor] What does the destruction
of a community matter, if it lives on lies? It ought to be razed to the
ground. I tell you—All who live by lies ought to be exterminated
like vermin! You will end by infecting the whole country; you will
bring about such a state of things that the whole country will
deserve to be ruined. And if things come to that pass, I shall say
from the bottom of my heart: Let the whole country perish, let all
these people be exterminated!
Voices From The Crowd: That is talking like an out-and-out
enemy of the people!
Billing: There sounded the voice of the people, by all that’s holy!
The Whole Crowd: [shouting] Yes, yes! He is an enemy of the peo-
ple! He hates his country! He hates his own people!
100 Aslaksen: Both as a citizen and as an individual, I am profoundly
disturbed by what we have had to listen to. Dr. Stockmann has
shown himself in a light I should never have dreamed of. I am
unhappily obliged to subscribe to the opinion which I have just
heard my estimable fellow-citizens utter; and I propose that we
should give expression to that opinion in a resolution. I propose a
resolution as follows: “This meeting declares that it considers
Dr. Thomas Stockmann, Medical Officer of the Baths, to be an
enemy of the people.” [A storm of cheers and applause. A number
of men surround the Doctor and hiss him. Mrs. Stockmann
and Petra have got up from their seats. Morten and Ejlif are
fighting the other schoolboys for hissing; some of their elders sepa-
rate them.]
ACT V
As the final act of the play opens, things seem grim for Dr. Stockmann
and his family. They have been rejected by their town, except for their
one remaining friend, Captain Horster. As the act progresses, Petra
and Dr. Stockmann lose their jobs. Dr. Stockmann says they will leave
and go to the United States, but then he has a change of heart.
Dr. Stockmann: Good.—Going away, did you say? No, I’ll be
hanged if we are going away! We are going to stay where we are,
Katherine!
Petra: Stay here?
Mrs. Stockmann: Here, in the town?
WORD CHOICE Reread para-
graphs 80–100 and circle the word
enemy each time it is used. How
does Ibsen use the word to build
momentum in the play?
WORD CHOICE Underline the
words with negative connotations
in paragraph 96. How does Ibsen
use these words to emphasize
Dr. Stockmann’s moral standard?
CC13_ELA_L2W_L3_SE 62 5/3/13 8:39 AM

Small Group
Dr. Stockmann: Yes, here. This is the field of battle—this is where
the fight will be. This is where I shall triumph! As soon as I have
had my trousers sewn up I shall go out and look for another house.
We must have a roof over our heads for the winter.
105 Horster: That you shall have in my house.
Dr. Stockmann: Can I?
Horster: Yes, quite well. I have plenty of room, and I am
almost never at home.
Dr. Stockmann: How good of you, Captain Horster!
Petra: Thank you!
110 Dr. Stockmann: [grasping his hand] Thank you, thank you! That is
one trouble over! Now I can set to work in earnest at once. There is
an endless amount of things to look through here, Katherine!
Luckily I shall have all my time at my disposal; because I have
been dismissed from the Baths, you know.
Mrs. Stockmann: [with a sigh] Oh yes, I expected that.
Dr. Stockmann: And they want to take my practice away from
me too. Let them! I have got the poor people to fall back upon,
anyway—those that don’t pay anything; and, after all, they need
me most, too. But, by Jove, they will have to listen to me; I shall
preach to them in season and out of season, as it says somewhere.
Mrs. Stockmann: But, dear Thomas, I should have thought events
had showed you what use it is to preach.
Dr. Stockmann: You are really ridiculous, Katherine. Do you want
me to let myself be beaten off the field by public opinion and the
compact majority and all that devilry? No, thank you! And what I
want to do is so simple and clear and straightforward. I only want to
drum into the heads of these curs the fact that the liberals are the
most insidious enemies of freedom—that party programmes stran-
gle every young and vigorous truth—that considerations of
expediency turn morality and justice upside down—and that they
will end by making life here unbearable. Don’t you think, Captain
Horster, that I ought to be able to make people understand that?
115 Horster: Very likely; I don’t know much about such things myself.
Dr. Stockmann: Well, look here—I will explain! It is the party lead-
ers that must be exterminated. A party leader is like a wolf, you
see—like a voracious wolf. He requires a certain number of
smaller victims to prey upon every year, if he is to live. Just look at
Hovstad and Aslaksen! How many smaller victims have they not
put an end to—or at any rate maimed and mangled until they are
fit for nothing except to be householders or subscribers to the
“People’s Messenger”! [Sits down on the edge of the table.] Come
here, Katherine—look how beautifully the sun shines to-day! And
this lovely spring air I am drinking in!
FIGURATIVE LANGUAGE
What simile does Dr. Stockmann
use in paragraph 116 to help
Horster understand his view of
political leaders?
INFERENCE Dr. Stockmann
describes his upcoming work as a
battle. What inference can you
make about how Dr. Stockmann
views himself?
STRUCTURE Why does Ibsen
end the play with Dr. Stockmann’s
decision to stay? How does it
compare to the ending of
The Misanthrope?
Theme What is the theme of
the play?
CC13_ELA_L2W_L3_SE 63 5/3/13 8:39 AM

Small Group
Discussion
Discuss these questions with your group, and together write a paragraph in response to each
question. Provide evidence to support your responses.
1. Dr. Stockmann is an idealist, or a person who pursues noble goals. Would he benefit from
being more of a realist? Explain.
2. Recall the conversation in which Mrs. Stockmann asks her husband not to oppose Peter.
What does the exchange reveal about society at the time?
Comprehension Check
Answer these questions about the selection you have just read. Use details from the selection
to support your responses.
1. What dialogue is most effective in developing Dr. Stockmann’s character and motivations?
2. What events lead to Dr. Stockmann’s decision to move to the United States, and why does he
later change his mind? What does he hope to do by staying in town?
3. Is Dr. Stockmann misunderstood by his community, or are his convictions misguided? Is
there enough text evidence to be certain of either position?
Independent Projects
Your teacher may assign you one or both of the following performance tasks.
Investigate the characteristics of realism.
Apply what you have learned about drama to analyze another play by
Molière or Ibsen.
On Your Own
Application
Read another play by Molière, such
as Tartuffe, or Henrik Ibsen, such as
A Doll’s House or The Master Builder.
In a written response to a series of
questions, you will discuss how the
development of the main characters
and the structure of the plot reveal the
play’s theme.
Inquiry
Write an essay and do a brief presen-
tation in response to the question,
“What is realism?” In your essay and
presentation, you will present three
characteristics of the literary move-
ment and explain what makes Ibsen
a realist.
CC13_ELA_L2W_L3_SE 64 5/3/13 8:39 AM
written responses

Texts
Comparing
Informational
Lesson
10
Informational texts may present very different
approaches to the same topic. For example,
newspaper articles report facts about current
events, while essays may express opinions
about the same topic. History books often
offer a sweeping overview of the past, while
biographies and autobiographies focus on the
contributions and experiences of an individual.
Because each approach has something to offer,
it is useful to read several kinds of informational
texts to gain a deeper understanding of a
particular event, period, or person.
As you read the following two selections—
a technical article about the causes and effects
of earthquakes and an article about the impact
of one particular earthquake on Japan—notice
the approach each author takes on the subject.
How is the information you learn from each
article similar? How is it different? What do you
gain by reading both articles?
Lesson 10 • Comparing Informational Texts 173
CC13_ELA_L2W_L10_SE 173 5/6/13 2:14 PM

Consider
Whole Class
1 On March 11, 2011, at 2:46 p.m., a violent undersea earthquake
occurred off the east coast of Japan. It registered 9.0 in magnitude,
making it one of the most powerful earthquakes ever recorded.
The resulting shift in the ocean floor triggered a series of
huge waves, called tsunamis, that spread out from the quake’s
epicenter, or point of origin. Towering walls of water began to hit
the Japanese coast within half an hour. They inundated coastal
cities such as Ishinomaki and Sendai, causing extensive losses of
property and human life. In one devastating example, the tsunami
completely destroyed Okawa Elementary School in Ishinomaki,
and the wave swept away seventy-four of the school’s students and
ten teachers as they struggled to reach the safety of higher ground.
In all, Japan suffered more than 15,000 deaths from the earth-
quake and tsunami. More than 3,000 people remained missing a
year after the catastrophe. The country also sustained more than
$20 billion in damage.
Will humans ever be able to prevent or predict such natural
disasters? To answer that question, it is necessary to examine what
causes Earth to release such destructive forces.
What kind of destruction results from earthquakes?
What techniques do authors use to explain scientific processes?
POINT OF VIEW In objective
writing, authors report facts that
can be verified, while in subjective
writing, they integrate emotion
and/or opinion. Reread the first
two paragraphs. Does this author
primarily have an objective or
subjective point of view in these
paragraphs? Explain.
AUTHOR’S PURPOSE
The author’s purpose is his or her
reason for writing. Authors use
different techniques to achieve
their purposes. In paragraph 3,
the author presents a question
followed by a statement. How
are these two sentences related?
What do they tell you about the
purpose of this article?
When Earth Shakes
The powerful tsunami that hit Japan in March 2011 splintered wooden buildings.
174 Lesson 10 • Comparing Informational Texts
CC13_ELA_L2W_L10_SE 174 5/6/13 2:14 PM

Whole Class
Earth’s Structure
Earth is a sphere made of several distinct layers, like an onion.
The center, called the core, is solid and composed mostly of iron
and nickel. Estimates of its temperature range from 6,700 to 8,500
degrees Fahrenheit. The next layer is the outer core, which is made
of the same elements but in liquid form.
5 Around the outer core lies the mantle, which is divided into two
layers. The inner layer next to the outer core is made of extremely
dense rock, much denser than what is found on Earth’s surface.
The outer part of the mantle is called the asthenosphere; it is
also made of dense rock, which is partially molten and therefore
able to change its shape and position. The material in this layer
flows very slowly because of convection, which is a circular move-
ment of the molten rock caused by differences in temperature.
Above the mantle lies the lithosphere. It includes material from
two separate layers: first, the very top section of the mantle, which
has solidified because of its distance from the core’s heat, and sec-
ond, Earth’s surface, or crust. The crust is a thin layer of lighter
rock that is more brittle than the rock found in the interior. Most
earthquakes originate in the lithosphere.
Refining Key Terms
Technical terms often have complex meanings. Over the course
of an informational article, the writer might add new details or
explanations to refine the definitions of technical terms.
epicenter seismology tectonics
fault magnitude
Vocabulary Strategy
STRUCTURE Informational
articles can be structured in many
ways. This article has a topical
structure. The author divides the
broad topic of earthquakes into
smaller subtopics. According to
this heading, what does this sec-
tion cover? How does this section
relate to the author’s purpose?
GRAPHICS Authors use graphics,
such as charts, diagrams, and
graphs, to visually explain
information in the text. What
does this graphic show? How
does it help you better understand
the information on this page?
CRUSTINNER
CORE
OUTER
CORE
MANTLE
TEXT FEATURES Authors use
different features to make certain
words and ideas stand out. In this
article, scientific terms are set in
italics. How is this font style help-
ful to readers?
CC13_ELA_L2W_L10_SE 175 5/6/13 2:14 PM

Earthquakes and tsunamis occur because of the way Earth is
structured and the forces that exist within the planet. Scientists
have learned about Earth’s structure through seismology, the
study of the way the shock waves produced by earthquakes travel
through Earth. Shock waves travel at different speeds depending
on the density and flexibility of the material through which they
are moving. By using sensitive instruments to record the patterns
produced by such waves, seismologists have developed an idea of
the way our planet is structured.
How Earthquakes Happen
Unlike the inner layers of Earth, the lithosphere is broken into
several separate rigid plates that glide above the more malleable
asthenosphere. Earth’s continents and ocean floors are at the
surface of these plates.
10 Because the plates float on the asthenosphere, they are in con-
stant but extremely slow motion, usually moving only a few inches
a year. The study of such movement is called plate tectonics.
EVIDENCE Explanations
and descriptions are types of
evidence used to support key
points. Underline the evidence
that supports the first sentence
in paragraph 8.
STRUCTURE When an article is
divided into several sections, each
may have its own organizational
pattern. Judging from this
heading, which structure does
the author use in this section?
GRAPHICS The information
presented in informational articles
may be technically complex. To
help readers understand and
visualize information, authors
often use different types of
graphics. How does this map
help you understand plate
tectonics? What information
from the text does it clarify?
As this map shows, the plates differ widely in size and have irregular
shapes. They do not conform precisely to the shape of the continents.
CC13_ELA_L2W_L10_SE 176 5/6/13 2:14 PM

Whole Class
Seismologists have learned that not all plates move in the same
direction or at the same speed, which means their edges interact
with each other in a variety of ways. Scientists classify these
interactions into three types:
• Divergent boundaries exist where plates move apart.
Divergent boundaries can lead to the formation of new crust
as liquid rock called magma rises to fill the gap left between
the plates and then hardens. This occurs most often on the
ocean floor.
• Convergent boundaries exist where plates move together.
When two plates collide, the pressure can create great
stresses in the rock. Usually, one plate will be forced to slide
beneath the other and to push down into the partially melted
rock of the mantle.
• Transform boundaries exist where plates slide along beside
each other. But the plates do not always slide easily. Often,
the edges of the plates snag on each other and are unable to
slide for a long time.
15 Earthquakes can occur at each type of plate boundary.
When plates collide or grind against each other, enormous pres-
sure builds within the rock. Sometimes these pressures grow so
great that they force one or both of the plates to give way and
suddenly move.
Earthquakes also occur along the faults associated with the
boundaries. A fault is a crack that occurs within Earth’s crust
because of the stresses produced by plate
movement. However, it is important to
bear in mind that not all cracks are faults.
Rock on either side of a crack must move
for it to be considered a fault. Faults can
range from a few inches to hundreds of
miles in length. Larger faults have the
potential to produce more powerful
earthquakes than smaller ones because
they can be sites of greater rock move-
ments. A fault is considered active if
movement has occurred there within
the last 130,000 years.
TEXT FEATURES Authors
use bulleted lists to highlight
particular information. Bulleted
lists may present details relating
to a main idea, items belonging
to a category, or important terms
with definitions. What type of
information is presented in this
list? Why does the author use a
bulleted list here?
TEXT EVIDENCE It is important
to use text evidence to support the
inferences, or informed guesses,
you make about a text. What are
faults, and how can they cause
earthquakes? Underline phrases
and sentences to support your
inference.
The Mid-Atlantic Ridge, located below the Atlantic
Ocean, is an example of a divergent boundary. It
is part of the world’s longest mountain range, and
it separates four different tectonic plates.
Mid-Atlantic
Ridge
CC13_ELA_L2W_L10_SE 177 5/6/13 2:14 PM

Seismologists have identified three types of faults, which are
defined by the direction in which they move:
• Normal faults occur when the mass of rock that overhangs
the fracture slides downward. Normal faults tend to occur
near divergent boundaries.
• Thrust faults occur when the mass of rock that overhangs the
fracture slides upward. These tend to occur near convergent
boundaries.
20 • Strike-slip faults occur when the rock masses on either side of
a fracture slip horizontally past each other. They are most
often associated with transform boundaries.
Most earthquakes are caused by the movement of plates or
slippage along faults associated with plate boundaries. The point
within Earth where the quake originates is called the hypocenter,
while the epicenter is the point on the surface directly above it.
One part of the world is especially known for earthquakes and
also for volcanoes. The Ring of Fire is a horseshoe-shaped band
that stretches around the edge of the Pacific Ocean along the
boundaries of several tectonic plates. It earned its name because
it experiences an unusually high number of earthquakes and
volcanic eruptions.
Even though most earthquakes can be explained by plate
tectonics, a small number of quakes occur in the central portion of
plates far away from boundaries and their associated faults. One
theory is that these intraplate earthquakes are somehow caused
by rock deformations, but scientists do not know for sure.
INTEGRATING INFORMATION
Integrating the information you
learn in the text with a graphic
will help you better understand
the information the author pre-
sents. Compare the diagram with
the information in the bulleted list.
What information do you learn
from each? How does the diagram
increase your understanding
of faults?
DOMAIN-SPECIFIC
VOCABULARY Authors of
technical or scientific texts often
use vocabulary that is specific
to a particular field of study.
Underline the context clues that
help you determine the meaning
of hypocenter. How is it different
from the the meaning of epicenter?
INFERENCE The details authors
provide often help you make
inferences, or logical assumptions,
about texts. Reread paragraph 23.
Do seismologists spend as much
time studying intraplate earth-
quakes as they do studying plate
tectonics? Circle details that sup-
port your inference.
Strike-slip
Normal
Thrust
answering the following question: What role do boundaries and faults play
in earthquakes?
Types of Faults
CC13_ELA_L2W_L10_SE 178 5/6/13 2:14 PM

Whole Class
The Aftermath of Earthquakes
Depending on their magnitude, which is a measure of power
or intensity, earthquakes can cause immense amounts of dam-
age. One reason is that earthquakes release different types of
shock waves, each of which has a different type of motion (for
example, side-to-side or up-and-down). Buildings and other
human-made structures are not usually intended to move in
these ways, so the shaking associated with earthquakes can
weaken or destroy them. The table below summarizes the
characteristics of the different types of waves.
CONNECTIONS Authors develop
the central idea by making con-
nections between related ideas,
details, or events. How does the
author connect the ideas in this
section with the ideas in the previ-
ous section? How does this section
further develop the central idea?
GRAPHICS Charts, or tables,
often present information that is
not included in the text. Notice the
way this chart is structured. What
advantage does the chart offer
over a text description?
Earthquake-damaged buildings sometimes look
like cakes whose top layers have slid off to the
side. At other times, the buildings crack in two.
Types of Seismic Waves
General Category Specific Type Where It Travels How It Moves
Body Wave P wave through Earth’s interior back and forth in the direction the wave
is moving; can pass through both solids
and liquids
S wave through Earth’s interior side to side, perpendicular to the direction
the wave is moving; cannot pass through
liquid
Surface Wave Love wave at Earth’s surface long and slow; moves the ground side to side
Rayleigh wave at Earth’s surface long and slow; moves the ground up,
backward, down, and forward in a circular
motion
CC13_ELA_L2W_L10_SE 179 5/6/13 2:14 PM

25 One of the leading causes of deaths from earthquakes is the
collapse of buildings and other structures, such as bridges and
highway overpasses. For example, during the 1989 Loma Prieta
earthquake in California, the upper portion of the double-deck
Nimitz Freeway collapsed onto the lower portion, killing forty-two
people who were driving on the road.
When buildings or other structures collapse, falling debris kills
and injures many people. Countless others become trapped in the
wreckage. The widespread nature of the destruction and the cor-
responding damage to infrastructure and equipment can make a
timely rescue of trapped people impossible. Many of those alive
within the rubble die from lack of food and water—or from lack of
treatment for injuries.
As earthquake shock waves pass through the ground, the
vibration of Earth can cause soft soil to act like a liquid. Anything
constructed on top of such soil will sink into it or topple. In addi-
tion, earthquakes frequently cause landslides, sending mud,
rocks, and sometimes ice and snow hurtling down slopes and
burying anything in the valleys below. An undersea earthquake
that occurred off the coast of Peru in 1970 triggered a landslide in
the Andes that buried thousands of people.
Another danger associated with earthquakes is that the ground
on one side of the fault may suddenly lift, fall, or slide a great
distance. The resulting cracks in the ground can be huge. They
can swallow buildings, tear apart roads, and break open pipes that
carry water and gas. Broken gas pipes and downed electric lines
often cause fires, a frequent and deadly side effect of earthquakes.
Quakes may also disrupt water supplies, making it difficult to put
out the flames. For example, after the 1906 San Francisco earth-
quake, fires burned out of control for three days.
AUTHOR’S PURPOSE Authors
write for different audiences,
depending on their purpose. Their
desire to appeal to a particular
audience dictates the kinds of
facts and examples they use in
their writing. How does the exam-
ple given in paragraph 25 reflect
the author’s purpose and intended
audience?
EVIDENCE In order to establish
him- or herself as a credible
authority on the topic, an author
must provide ample evidence to
support all claims and statements.
This evidence may come in the
form of facts, statistics, testimo-
nies, examples, or descriptive
details. What claim does the
author make in paragraph 27?
Underline evidence the author
gives to support this claim.
These houses in San Francisco
were severely damaged during
the 1906 earthquake along
the San Andreas Fault.
CC13_ELA_L2W_L10_SE 180 5/6/13 2:14 PM

Whole Class
Earthquakes can also crack dams, causing them to give way
and release the huge volume of water stored in their reservoirs.
After the 2011 earthquake in Japan, a dam at Fukushima
fractured. The resulting flood washed away many homes.
The Danger of Tsunamis
30 Undersea earthquakes are the most frequent cause of tsuna-
mis. A tsunami is a series of powerful ocean waves that are created
when a large amount of water is lifted or otherwise displaced by
an earthquake or some other sudden event, such as a landslide or
a volcanic eruption. If an earthquake causes a thrust fault, for
example, the mass of rock that is forced upward will push a huge
volume of seawater out of its way. This action creates a giant swell
of water above the place where the earthquake occurred. The
swell then becomes a tsunami.
Out in the vast expanse of the ocean, a tsunami wave may rise
only about three feet above the water’s surface. Unlike regular
waves, which are generated by wind, tsunami waves are very
long—stretching from 60 to 120 miles. They also travel very
quickly through deep water; in the Pacific Ocean, a tsunami can
travel at speeds as fast as a jet can fly.
As the tsunami approaches land, it reaches a place where the
ocean floor slopes upward and the water becomes shallower. The
friction of the wave’s bottom hitting the sloping ocean floor causes
the wave’s speed to drop to 20 to 30 miles an hour. At the same
time, the wave’s length shortens and its height increases to accom-
modate the volume of displaced water. This means that a swell
STRUCTURE Authors structure
texts to effectively deliver
information and ensure that
readers can follow their ideas.
Would the article have been as
effective if the author had put this
section on earthquake damage at
the beginning? Explain.
CONNECTIONS To make an arti-
cle coherent, authors must develop
their ideas throughout the article
and continually make connections
between them. In this section the
author introduces another type of
natural disaster—the tsunami.
What evidence in paragraph 30
links tsunamis to the central idea
of the article?
Whole Class
Cracks caused by earthquakes usually look most dramatic right after the
rumbling begins. The continued shaking of the ground and aftershocks
can cause the cracks to partially fill with soil and stones.
CC13_ELA_L2W_L10_SE 181 5/6/13 2:15 PM

that was only one to three feet high in the middle of the ocean
becomes a gigantic wall of water just before it crashes onto the
shore. Usually, a series of waves occurs, pushing the water farther
and farther up the land before the energy of the tsunami is spent.
Perhaps the most deadly tsunami in history occurred in
December 2004. An earthquake with a magnitude of 9.1 occurred
beneath the ocean off the coast of Sumatra, an island of Indonesia.
The seismic activity generated tsunami waves that hit Indonesia,
Sri Lanka, Thailand, India, Maldives, and even far-away East
Africa. More than 225,000 people were killed with no warning.
POINT OF VIEW An author’s
point of view is his or her attitude
toward the subject. Point of
view is often revealed through
the author’s choice of words.
Underline words in paragraph 33
that indicate the author’s point
of view.
CENTRAL IDEA Nonfiction
articles are often divided into
sections, with each section
supporting and developing the
central idea of the article. How
does “Measuring and Predicting
Earthquakes” help develop the
central idea?
More than a million people
in thirteen countries were
displaced by the 2004 tsunami.
answering the following question: What is the relationship between an
earthquake and a tsunami?
Measuring and Predicting Earthquakes
The science of seismology has developed ways to measure
earthquakes. One of the most widely known measurements is
the Richter magnitude scale, developed by seismologist Charles
F. Richter in 1935. He invented an instrument to measure the size
of the shock waves, or seismic waves, that earthquakes generate.
One distinctive feature of the scale is that units of measurement
increase exponentially rather than by constant increments. The
magnitude of an earthquake that measures 2.0 on the Richter
scale is ten times greater than one that measures 1.0, while a value
of 3.0 means the earthquake has a magnitude that is ten times
greater than one that measures 2.0 and one hundred times greater
than one measuring 1.0.
CC13_ELA_L2W_L10_SE 182 5/6/13 2:15 PM

Whole Class
Richter Scale
Magnitude Description Effects
Less than 2.9 micro rarely felt
3.0 to 3.9 minor felt by some people in the area; slight
shaking
4.0 to 4.9 light felt by almost everyone in the area;
noticeable shaking; slight damage
5.0 to 5.9 moderate moderate damage to weak buildings
6.0 to 6.9 strong damage to many buildings; can cause
deaths in populated areas
7.0 to 7.9 major can cause great damage and high
death tolls
8.0 and greater great severe damage and high death tolls
over a wide area
35 Since the Richter scale came into widespread use, seismolo-
gists have developed other scales to measure an earthquake’s
magnitude. One of these, the moment magnitude scale, combines
the measure of all wave types, frequencies, and durations
recorded at many seismic stations at the same moment.
Measuring magnitude is not the only method of evaluating
and ranking earthquakes. The Modified Mercalli Intensity (MMI)
scale measures the violence of the shaking caused by an earth-
quake. This scale quantifies how strong an earthquake feels and
the amount of damage it causes. In addition, seismologists have
developed formulas to measure the amount of energy released
by earthquakes.
Seismology has not made as much progress in learning how
to predict earthquakes as it has in measuring them. According to
the U.S. Geological Survey, seismologists would like to be able
to predict accurately that an earthquake will occur at a certain
location within the next year. Such precision would give the public
enough time to be prepared, and thus the number of deaths and
Authors gather information from
multiple sources and then synthe-
size the facts, examples, and other
information in order to write an
article. The author compiled this
chart using various sources. Why
might he or she have relied on
multiple sources to create it rather
than using an existing chart? Does
it make the chart more or less
reliable? Explain.
GRAPHICS Providing information
in various formats accommodates
people with different learning
styles. Compare the written
description of the Richter scale
with the chart. Is one more
effective than the other in helping
you understand the scale? Explain.
EVIDENCE Authors must use
relevant and sufficient evidence to
support their claims. This author
claims that seismology has not
made much progress in learning
how to predict earthquakes.
Underline sentences that support
the claim. Is the evidence convinc-
ing? Explain.
Scientists use an instrument
called a seismograph to
measure earthquakes.
CC13_ELA_L2W_L10_SE 183 5/6/13 2:15 PM

Paciﬁc
O
cean
Banning Fault
San Jacinto Fault
Fault
1872
1940
1979
1952
OwensValleyFault
San Francisco
San
California
1836
1836
Segments on which slip occurred during
great earthquakes of 1857, 1872, and 1906
Explanation
Segments on which slip occurred
during smaller earthquakes
Dates of earthquakes of magnitudes 7–8
Segments on which fault creep occurs
1838
1868
1906
1857
1980
Andreas
Los Angeles
San Diego
Garlock Fault
loss of property could be reduced. However, such predictions are
not within science’s present capabilities.
Instead, seismologists calculate the probability of earthquakes
and issue rough predictions for different locations. For example,
they may predict that a certain location has a 1 in 2 (50 percent)
chance of having an earthquake within five years. One method
they use to make such predictions is to study the frequency of
past earthquakes and look for patterns in the way they occur.
However, earthquakes do not generally occur in completely pre-
dictable cycles.
Another method seismologists use is to study how much stress
is building up in rock along known faults to try to determine when
the tension will grow so great that the rocks will slip to a different
position. To use those measurements in order to make a predic-
tion, scientists need an understanding of what has occurred in
the past. One of the main obstacles to this method is that for most
known faults, scientists do not have such records.
40 Scientists are also using instruments to monitor seismic activ-
ity along faults with a history of frequent earthquakes. They hope
to be able to detect geophysical signals that indicate that an earth-
quake is about to occur. If such signals exist, scientists could use
them to issue short-term warnings.
INFERENCE An inference is a
logical assumption based on the
information in a text and personal
experience. Why are several types
of instruments used to measure
earthquakes? What are scientists
hoping to achieve? Cite evidence
that supports your inferences.
The San Andreas Fault in
California is one of the
most intensively studied
faults in the world.
CC13_ELA_L2W_L10_SE 184 5/6/13 2:15 PM

1 2 3DROP! COVER HOLD ON!
Whole Class
Improving Earthquake Safety
Since it is currently impossible to accurately predict exactly
where and when an earthquake might occur, the best way to
reduce earthquake-related deaths is to build safer structures in
more stable locations. When earthquakes cause high numbers
of deaths, poorly constructed buildings are often at fault.
Government agencies can use regulations to make sure that
buildings are not constructed directly over faults or on unstable
ground that might liquefy or slide suddenly during a quake.
In addition, governments in earthquake-prone regions can
pass building codes that require design modifications to help new
buildings withstand the stresses associated with earthquakes and
thus sustain less damage. The use of steel frames, reinforcing
diagonal beams, specially designed walls that resist the sideways
force called shear, and shock absorbers in the base of tall buildings
can help structures to endure violent shaking without collapsing.
Preventing the collapse of buildings is one of the most effective
ways to reduce earthquake-related deaths. However, because
earthquake-safety modifications can be expensive, they are often
implemented in only the largest and most costly building projects.
One other action that people can take to reduce the loss of life
from major earthquakes is to improve methods of response and
rescue. Modern instruments can detect earthquakes anywhere
in the world, helping the authorities to respond quickly and mobi-
lize the equipment, supplies, and staff needed to help survivors.
Until such time as seismologists learn how to give advance warn-
ing of devastating quakes, erecting safer buildings and providing
immediate aid after disasters are the best ways for humans to live
and survive in earthquake-prone regions.
AUTHOR’S PURPOSE Authors
may have certain purposes for
including different sections in their
text. What might be the author’s
purpose for including the informa-
tion in paragraphs 41–43? What is
the effect of ending the article
this way?
SUMMARY In a summary, you
restate key ideas in your own
words. Briefly summarize the
entire article.
In addition to regulating safer construction, governments educate
the public on earthquake safety by distributing information.
COMPARING TEXTS Consider
the topics covered in this text.
What central ideas does the author
present? What is the author’s point
of view toward the subject? Keep
these elements in mind as you
read the next passage.
CC13_ELA_L2W_L10_SE 185 5/6/13 2:15 PM

Whole Class
Review the article to find one example of each kind of presentation element.
Write the example and page number where it appears. In the third column,
explain how it helps you better understand the topic or adds new information.
In the fourth column, suggest an alternate way of presenting the information.
Element/Example Page
Clarifies Understanding
or Presents New Ideas
Alternative
Technique
Subhead:
Key Word:
List:
Graphic:
Try It
Presenting Complex Information
When nonfiction writers must present complex technical information, they use a
variety of techniques to make that information clear to the reader. In “When Earth
Shakes,” the author uses several techniques to explain complex ideas.
• Subheads are section titles that break the text into smaller, more easily
manageable parts.
• Key words and vocabulary terms are often set in distinctive font styles, such
as bold or italic. Look for definitions in the context of the selection or in a
separate glossary.
• Lists, with items denoted by bullet points or numbers, highlight important
ideas or examples, describe the parts of a whole, or show the individual
steps of a process.
• Graphics are visual aids that further explain or enhance the text.
Photographs and illustrations visually portray the information in a text.
Diagrams, timelines, graphs, maps, and charts convey complex
information in a way that is easy for readers to understand. Captions are
phrases or short sentences that explain what the graphics depict.
CC13_ELA_L2W_L10_SE 186 5/6/13 2:15 PM

Whole Class
Refining Key Terms
In each of the following sentences, the author defines one of the vocabulary
words. The author later refines the meanings of these words through further
explanation or examples. Explain how the meaning of each word below is refined
elsewhere in the article.
1. The resulting shift in the ocean floor triggered a series of huge waves, called
tsunamis, that spread out from the quake’s epicenter, or point of origin.

2. Scientists have learned about Earth’s structure through seismology, the study
of the way the shock waves produced by earthquakes travel through Earth.

3. The study of such movement is called plate tectonics.

4. A fault is a crack that occurs within Earth’s crust because of the stresses
produced by plate movement.

5. Depending on their magnitude, which is a measure of power or intensity,
earthquakes can cause immense amounts of damage.

Vocabulary Strategy
Comprehension Check
Answer these questions about the selection you have just read. Use details from
the selection to support your responses.
1. What causes earthquakes? Summarize the process in your own words.
2. What are the main types of damage caused by earthquakes? Can this damage
be averted? Explain why or why not.
3. Why are scientists unable to predict exactly when and where an earthquake is
going to happen?
CC13_ELA_L2W_L10_SE 187 5/6/13 2:15 PM

Consider
Small Group
1 During the afternoon of Saturday, March 12, 2011—one
day after a devastating earthquake and tsunami hit Japan—
eight-year-old Remika Fujimori and her friends were playing out-
side in the spring sunshine. They were unaware that just a few miles
away a third disaster was brewing. Cooling systems at the nuclear
power plant in Fukushima, the city where the children lived, had
failed because of damage caused by the tsunami. The fuel rods were
overheating, and pressure was building up inside reactor unit 1.
Plant officials were scrambling to avoid catastrophe. On Friday,
March 11, residents within about two miles of the plant had been
told to evacuate. People within about six miles were told to stay
home and be ready to evacuate if the situation were warranted.
Twice on Saturday, officials released some of the steam building
up in the reactor into the atmosphere to reduce the pressure inside
the plant and ward off a major disaster. This steam contained
some radioactivity.
However, at 3:30 that afternoon, a huge explosion occurred
in the nuclear plant. The walls of the concrete building that
housed the steel reactor collapsed. Tokyo Electric Power Company
(TEPCO) announced that four workers at the plant were injured.
Hours later Japan’s Nuclear and Industrial Safety Agency (NISA)
confirmed that radioactive elements had been released into
the environment.
Japan’s Triple DisasterJapan’s Triple Disaster
What role do governments play in disaster warning and relief?
How can personal accounts add to your understanding of disasters?
POINT OF VIEW What thoughts
or emotions does the author want
you to have when you read the
first paragraph of this article?
Does the opening account lead
you to expect an objective or
subjective point of view in
this article?
After the accident, radiation
made it dangerous for
residents and workers to be
near the crippled power plant.
CC13_ELA_L2W_L10_SE 188 5/6/13 2:15 PM

Onagawa
Fukushima 1–Daiichi
Fukushima 2–Daini
Tokai
TOKYO
Key
Onagawa
Miyagi Prefecture
Fukushima 1–Daiichi
Fukushima 2–Daini
Tokai
JAPAN
Earthquake Epicenter
Damaged Nuclear Power Plant
Radioactive Contamination
Earthquake
March 11, 2011
14:45 (JST)
9.0 Magnitude
Pacific Oce
an
Small Group
Some people believe that civilians were exposed to that
radiation because the government did not evacuate a wide
enough area and did not adequately inform the public of what
was happening. Critics later charged that Japan’s government
bureaucracy encouraged officials to protect the special interests
of their department—in this case, the energy industry—rather
than look out for public safety.
5 As a result of the government’s inaction, Remika’s mother
Mayumi did not find out about the explosion until hours after it
occurred and therefore had no idea that she should call her
daughter indoors to protect her from radiation poisoning. Months
later, Mayumi Fujimori said in an interview, “Something really
terrible, something really unimaginable happened. I didn’t know
what to do and how I could protect my children. I tried to do my
best.” Like conscientious parents all over the world, she worried
that she was somehow to blame for putting her child at risk.
Anxiety continued to plague her a year later.
The Fujimoris were just one of thousands of families caught
in the horrors of the triple disaster that occurred in Japan in the
spring of 2011.
REFINING KEY TERMS From
the clues in paragraph 4, what
does the word bureaucracy mean?
As you read, underline instances
when the author refines the
meaning of the word.
AUTHOR’S PURPOSE
Consider the title of the article
and the opening account. What is
the author’s purpose for writing
this article?
GRAPHICS What additional
information does the map provide?
How does it help you better
understand the text?
CC13_ELA_L2W_L10_SE 189 5/6/13 2:15 PM

Nature’s Fury
The series of catastrophes began with an undersea earthquake
that struck in the middle of the afternoon on Friday, March 11. The
epicenter was located beneath the Pacific Ocean roughly 230 miles
northeast of Tokyo and 80 miles east of Sendai, a city of a million
people on Honshu, Japan’s largest island.
According to the U.S. Geological Survey, the quake took place
fifteen miles beneath the ocean floor at a subduction zone, a place
where two tectonic plates collide in such a way that one is forced
to slide beneath the other. On March 11, the Pacific Plate, which
was being gradually shoved underneath the Eurasian Plate at
the rate of three inches a year, could no longer take the built-up
pressure. The Pacific Plate lurched upwards about 33 feet and
sideways about 164 feet. This sudden movement caused an earth-
quake that measured 9.0 on the Richter scale. This quake was the
strongest one to hit the region since the late 1800s and the fourth
most powerful earthquake that has been recorded in the world
since 1900. The earth’s shaking lasted an unbelievable five min-
utes and was felt as far away as Petropavlovsk-Kamchatsky, Russia,
and Beijing, China, each more than one thousand miles from the
epicenter. For weeks, aftershocks greater than 6.0 on the Richter
scale shook the earth.
Because earthquakes are usually over in a matter of seconds,
Japanese residents were stunned by how long the earth’s
trembling lasted. Sixty-nine year old Satako Yusawa, who had
lived through many earthquakes, said the 2011 quake was more
terrifying than any she had ever experienced. “I was having tea at
a friend’s house when the earthquake hit. We were desperately
trying to hold the furniture up, but the shaking was so fierce that
we just panicked.”
10 One electronics store in Sendai exemplified the earthquake’s
destructive force. Although the building survived—probably
because Japan has some of the strictest earthquake-construction
standards in the world—the inside of the shop and most of its
merchandise were ruined. The ceiling on the second floor col-
lapsed. Large appliances like televisions and air conditioners were
tossed to the floor, where they lay shattered. To make matters
worse, the earthquake had caused the sprinkler system to go off,
soaking everything.
CONNECTIONS How does the
author connect the story of the
Fujimoris with the events of
March 11?
Recall the description of how geo-
logic faults cause earthquakes in
the article “When Earth Shakes.”
Compare that description to the
information in paragraph 8. If
you were writing a report on
earthquakes, would one of these
articles be a better source to use
than the other, or would you
use both? Explain.
CENTRAL IDEA After reading
paragraphs 7–8, what is the
central idea of the article? How
does the section titled “Nature’s
Fury” develop the central idea?
POINT OF VIEW Has your
opinion about whether this article
is objective or subjective changed?
Explain using examples from
the text.
CC13_ELA_L2W_L10_SE 190 5/6/13 2:15 PM

Georgia Common Core Coach, CCGPS Edition, World Literature, Level II

Georgia Common Core Coach, CCGPS Edition, World Literature, Level II

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