The Crucible - Appendix

Learning Lifes Lessons through Literature - ELA High School Unit
Macomb ISD
Unit 10.3 Power of the Individual The Crucible - Appendix
1. Think-Write-Pair-Share [day 1] 23c. Blank Character Bookmark

2. The Power of One chart [day 1] [day 12, 13,
3. Writing Prompt: The Power 14, 20]
of the Individual [day 1] 23d. Sample Character Bookmark
4. Writing Checklist [day 1, 3] [day 12, 13,
5. Writing Rubric [day 1, 3] 14, 20]
6. Fishbowl Peer Editing 24. Focus Question #5 [day 12]
Procedure [day 3] 25. Focus Question #6 [day 12]
7. Quick Write Directions [day 4, 8, 26. Focus Question #7 [day 13]
11] 27. Focus Question #8 [day 14]
8a. Focus Question Directions [day 4, 6, 28. Focus Question #9 [day 15]
11, 12, 13, 29. Vocabulary In Context
14, 15, 17, Strategy [day 16,
20, 21, 22, 17]
24, 25,
32]
8b. Focus Question Rubric [day 4, 6,
11, 12, 13,
14, 15, 17,
20, 21, 22,
24, 25, 30a. Focus
32] Question #10a
9. Focus Question #1 [day 4] answer 1 [day 16]
10. Focus Question #2 [day 4] 30b. Focus Question #10b
11a-b. Genre: Informational Text answer 2 [day 16]
Handout [day 4] 31a-f.Readers Theater #1
12. Think Aloud Directions [day 4] (Act Two) [day 16,
13. How to Write a Summary [day 5] 17]
14. Summary Self-Evaluation [day 5] 32. Vocabulary in Context List
15a. Summary Scoring Rubric[day 5, 6] [day 17]
15b-g. Why I wrote The Crucible 33. Focus Question #11 [day 17]
16. Focus Question #3 [day 6] 34. Writing an Original Scene [day 18]
17. Building Background Chart 35. Focus Question #12 [day 20]
[day 7] 36. Focus Question #13 [day 21]
18. Puritanism Data Wall Topics 37. Focus Question #14 [day 22]
[day 10] 38. Newspaper Article Writing
19. Genre: Drama Handout [day 10] Assignment [day 22]
20. Drama Student Bookmark 39a-d. Readers Theater #2 [day 23,
[day 10] 24]
21. Focus Question #4 [day 11] 40. Focus Question #15 [day 24]
22. Exit/Entrance Ticket [day 11] 41a-f.Readers Theater #3 [day 24,
23a. Character Bookmark [day 12, 13, 25]
14, 20] 42. Focus Question #16 [day 25]
23b. Bookmark Character list [day 12, 13, 43. Decisions, Decisions,
14, 20] Decisions [day 25]
44. Focus Question #17 [day 25]
45. Biopoem [day 25]
ELA High School Unit10.1 Appendix Macomb Intermediate School
District 2006
46a. My Beloved Boys [day 26]
46b. Ive Been Meaning to
Write [day 26]
47. Timeline Activity [day 27]
48. Short Comparison and
Contrast Essay Guidelines[day 28]
49. Venn Diagram [day 28]
50a-b.Compare and Contrast
Rubric [day 28]
50. Compare and Contrast Peer
Review Sheet [day 29]
51. Movie/Play Comparison
Chart [day 30,
31, 32]
52. Persuasive Essay Assignment
[day 30]
53. Persuasive Essay
Guidelines [day 30]
54a-b.Persuasive Essay
Peer Review Sheet [day 30,
33]
56a-b.Persuasive Essay Rubric [day 30,
35]
57. Focus Question #18 [day 32]

District 2006
Think-Write-Pair-Share
A Think-Pair-Share (TPS) is a quick 2-5 minute verbal interaction between two or three students that
allows them to quickly process the academic language and content being learned. TPS is not just a
background knowledge activity, so also keep it in mind for building other habits and for the during and
post reading stages. TPS can be very effective during teacher presentations for creating breaks that
push student to organize thoughts well enough to communicate them. TPS also allows a student to
hear how another person is processing the learning, which further builds background knowledge.
You can use TPS in many different areas of instruction, such as vocabulary,
content concepts, opinions, compare-and-contrast activities, sharing parts of
homework, summaries of text or visuals, connecting to background knowledge or
other classes, making predictions or inferences, and solving problems.
Procedure:
1. Create a question or prompt that will encourage students to use their

background knowledge and experience in answering it.
2. Have students think in silence for 30-60 seconds to mentally prepare what
they will say. Variation: They write notes and/or an answer prior to turning
to partners to share. This makes the procedure, Think-Write-Pair-Share.
3. Put students into pairs. During the pair work, students should do the
following:
a. Face their partner, show interest, and listen actively. They can even
take notes
b. Stay on the topic.
c. Remember what their partner says in order to share it with the class
later.
d. Give reasons for any opinions, such as evidence from the book, class
discussions, or ones own life.
e. Use the vocabulary and academic language that you have modeled.
f. Ask their partner questions that call for clarification and evidence. Do
you mean that?. Why do you think that? Where does it say that?
(caution students to be respectful and polite in their questioning of
one another.)
4. After pair time, ask students to share with the class what their partner
said.
This forces them to listen and also publicly validates what partners have
said.
Appendix #1
Quotes Quote predictions Image Additional
identification information
Not so long ago, a little girl in
Alabama wanted to go to the
same school as everyone else.
And a gentle man from India
wanted to raise consciousness
without raising his voice.
In East Germany, a man wanted
to break free.
And a woman traveled the

world, giving hope to those who
had none.
This is the power of one.
To protect your home in the

Amazon.
To prevent poaching of the

African Mountain Gorilla.
To rescue harp seals in

Finland.
Or to care for the environment

in our own backyard.
The Power of One
The power of one is the power to do something. Anything.

Appendix #2
Writing Prompt
Directions
Every individual has power: the power to affect change in his
or her own life, the lives of friends and family, the
community, and the world. Using individual power can take
the form of changing your own or someone elses mind about
prejudice, campaigning for a worthy cause, or doing your
part in limiting the Greenhouse Effect.
Write about the theme: The Power of the Individual
Do one of the following:
Describe something you have done individually to affect

change.
OR
Tell how a person you admire has worked to affect change.
OR
Persuade the reader that taking a stand to affect change is
important in life.
OR
Write about the theme in your own way.
Use examples from real life, from what you have read or
watched, or from your imagination. Your writing will be read
by interested adults.
Use the paper provided for notes, freewriting, outlining,

clustering, or writing your rough draft. If you need to make a
correction, cross out the error and write the correction above
or next to it.
You should give careful thought to revision (rethinking ideas)

and proofreading (correcting spelling, capitalization, and
punctuation). Use the checklist and rubric to help improve
your writing.
Appendix #3
Review of Writing: Publishing Final Copy
DIRECTIONS
Now you will be doing three things: revising your paper (which means to rethink
your ideas); polishing your paper (which means to edit and proofread); and
recopying your paper as neatly as possible.
Use the following checklist as you revise and edit the writing that you have done.
When you are finished revising, you must make a final copy of your paper. Then,
proofread your final copy to make sure that all of your revisions have been made.
CHECKLIST FOR REVISION
1. Do I have a clear central idea that connects to the topic?

2. Do I stay focused on my central idea?
3. Do I support my central idea with important and relevant details/examples?
4. Do I need to take out details/examples that DO NOT support my central idea?
5. Is my writing organized and complete, with a clear beginning, middle, and
end?
6. Do I use a variety of interesting words, phrases, and/or sentences?
CHECKLIST FOR EDITING
7. Have I checked and corrected my spelling to help readers understand my

writing?
8. Have I checked and corrected my punctuation and capitalization to help
readers understand my writing?
CHECKLIST FOR PROOFREADING
9. Is everything in my final copy just the way I want it?

Reread your writing. You should cross out or erase any errors you make. You will
have as much time as you need.
Appendix #4
Rubric
Writing from Knowledge and Experience
Characteristic 6 5 4 3 2 1
s
Content and The writing is The writing is The writing is The writing is The writing is The writing is
Ideas exceptionally clear clear and generally clear somewhat clear only generally
and focused. Ideas focused. Ideas and focused. and focused. occasionally unclear and
and content are and content are Ideas and content Ideas and content clear and unfocused.
thoroughly well developed are developed are developed focused. Ideas Ideas and
developed with with relevant with relevant with limited or and content are content are
relevant details and details and details and partially underdeveloped not developed
examples where examples where examples where successful use of . or connected.
appropriate. appropriate. appropriate, examples and
although there details.
may be some
unevenness.
Organization The writers control The writers The response is There may be There may be There may be
over organization control over generally evidence of an little evidence no noticeable
and the connections organization and coherent, and its organizational of organizational
between ideas move the connections organization is structure, but it organizational structure.
the reader smoothly between ideas functional. may be artificial or structure.
and naturally effectively move ineffective.
through the text. the reader
through the text.
Style and Voice The writer shows a The writer shows The writers Vocabulary may Vocabulary may
mature command of a command of command of be basic. be limited.
language including language language,
precise word choice including precise including word
that results in a word choice. choice, supports
compelling piece of meaning.
writing.
Conventions Tight control over The language is Lapses in writing Incomplete Limited control Lack of
language use and well controlled, conventions are mastery of over over writing control over
mastery of writing and occasional not distracting. writing conventions writing
conventions lapses in writing conventions and may make the conventions
contribute to the conventions are language use may writing difficult may make the
effect of the hardly interfere with to understand. writing
response. noticeable. meaning some of difficult to
the time. understand.
Not ratable if: a) off topic b) illegible c) written in language other than English d) blank/refused to respond.
Appendix #5
The Alligator in the Fishbowl
This revision exercise is a brief summary of Michael Steinberg and
Sharon Thomass Strategy for Student-Led Response Groups
from Language Arts Journal of Michigan, Vol. 4, Number 2, pages
24-35.
When first using peer revision, the Alligator in the Fishbowl

technique can help students understand the value and procedure
of the technique.
1. Ask students this question: If you had access to the most

wonderful editor in the world who would give you just exactly
what you needed, what questions would you ask? Have
students volunteer questions dealing with revision, not
editing, and make a list on the board. These questions may
relate to clarity, sufficient examples, ways to improve the
draft, and any other revision issues.
2. Ask for a volunteer to read his or her draft aloud in the middle
of the room to a group of four or five students. The remaining
students sit around the center group.
3. Have the writer choose three or four questions from the board
before he or she reads the draft aloud. While the writer is
reading, group members should be writing down answers to
the writers questions.
4. After the writer has finished reading, students discuss their
responses to the questions the writer posed and make
suggestions for improvement. Moderate the discussion if the
comments become too critical.
5. If the feedback is not useful, the writer can enter the
discussion to ask more questions and offer more information.
6. Have the outside circle write comments on the process, such
as if the writers questions or the feedback was specific
enough, which comments were most helpful, and suggestions
for improving the process.
7. Have other volunteers read their drafts aloud, and record
responses from the group to develop a list of guidelines for
group work.
Appendix #6
Quick Write Directions
What is it?
Quick Writes are most often used to develop fluency. In Quick Writes, students
write rapidly and without stopping in response to literature and for other types of
impromptu writing. Quick Writes, provide students with a means of quickly
representing their thinking. Rather than being concerned with correct spelling,
punctuation, and word usage, the student is more interested in simply responding
to the prompt in a personal way. Students reflect on what they know about a
topic, ramble on paper, generate words and ideas, and make connections among
the ideas. Young children often do Quick Writes in which they draw pictures and
add labels. Some students do a mixture of writing and drawing.
Students do Quick Writes for a variety of purposes:
Learning logs:
Immediately following a particular lesson, engaging activity, or
discussion, pause and allow students to reflect in their learning logs
or journals. Share responses.
Constructed response to literature:
--to activate prior knowledge
--to reflect on a theme of a story and how it relates to them
personally
--to describe a favorite character
Reflections on new learning:
--students write an explanation of what something means
--to define or explain a word on the word wall
How to do a Quick Write
1. The teacher selects a purpose for the students. This prompt should
be tied to a content area and elicit a personal response from the
student.
2. After listening to the prompt, the student is instructed to write a

response by jotting down whatever comes to mind. The time limit
should be no longer than 5-10 minutes in length. When students are
learning, I would start with 2 minutes of writing and increase the time
gradually. Students write until instructed to stop. They are allowed to
only finish their thought when time is called.
3. Quick Writes may be used several times in a day. They may provide a
nugget for a more extended piece of writing.
4. When it is time to share, students read their writing to a small group

of four or five students. Volunteers could also share with the whole
group.
Appendix #7
Loudon Wainright
The Dying Girl that No One Helped
In the 1960s, folksinger Phil Ochs wrote a song called Outside of a Small Circle of
Friends with these lyrics:
O look outside the window

Theres a woman being grabbed
Theyve dragged her to the bushes
And now shes being stabbed
Maybe we should call the cops and try to stop the pain
But Monopoly is so much fun
Id hate to blow the game
And Im sure it wouldnt interest anybody
Outside of a small circle of friends
The lyrics were a reminder of the murder of Kitty Genovese in 1964, an incident
that began a national debate about the responsibility of the average citizen to
come to the aid of people in danger. A young woman was brutally murdered in a
New York residential area while at least 38 people watched. Ever since,
professional students of human behavior and amateurs alike have attempted to
explain why no one was willing to become involved. In this selection, Loudon
Wainwright briefly records the feelings of some of those who saw Kitty Genovese
killed.
To judge from the bitter example given us by the good folks of a respectable
New York residential area, Samaritans are very scarce these days. .. . if the
reactions of the 38 witnesses to the murder of Catherine Genovese provide any
true reflection of a national attitude toward our neighbors, we are becoming a
callous, chickenhearted and immoral people.... An examination of the pitiful facts
of Miss Genoveses terminal experience makes very necessary the ugly personal
question each of us must ask: What would I have done?
The story is simple and brutal. As she arrived home in the early morning
darkness, Kitty Genovese, a decent, pretty young woman of 28, was stalked
through the streets close to her Kew Gardens apartment and stabbed again and
again by a man who had followed her home and who took almost a half hour to
kill her. During that bloody little eternity, . . . Kitty screamed and cried repeatedly
for help.... Oh, my God! she cried out at one point. He stabbed me! Please help
me! Someone help me ! Minutes later, before the murderer came back and
attacked her for the final time, she screamed, Im dying! Im dying!
The reason the murderers actions and his victims calls are so well
documented is that police were able to find 38 of Kittys neighbors who admitted
they witnessed the awful event. They heard the screams and most understood
her cry for help. Peeking out their windows, many saw enough of the killer to
provide a good description of his appearance and clothing. A few saw him strike
Kitty, and more saw her staggering down the sidewalk after she had been
stabbed twice and was looking for a place to hide. One especially sharp-eyed
person was able to report that the murderer was sucking his finger as he left the
scene; he had cut himself during the attack. Another witness has the awful
distinction of being the only person Kitty Genovese recognized in the audience
taking in her final moments. She looked at him and called to him by name. He did
not reply.
Appendix #7a
No one really helped Kitty at all. Only one person shouted at the killer (Let
that girl alone!), and the one phone call that was finally made to the police was
placed after the murderer had got in his car and driven off. For the most part the
witnesses, crouching in darkened windows like watchers of a Late Show, looked
on until the play had passed beyond their view. Then they went back to bed....
On the scene a few days after the killer had been caught and confessed,
Police Lieutenant Bernard Jacobs discussed the investigation. The word we kept
hearing from the witnesses later was involved, Jacobs said.... People told us
they just didnt want to get involved, Jacobs said to me. They dont want to be
questioned or have to go to court. He pointed to an apartment house directly
across the quiet street. They looked down at this thing, he went on, from four
different floors of that building. .... Its a nice neighborhood, isnt it? he went
on. Doesnt look like a jungle. Good, solid people. We dont expect anybody to
come out into the street and fight this kind of bum. All we want is a phone call.
We dont even need to know whos making it.
You know what this man told us after we caught him? Jacobs asked. He
said he figured nobody would do anything to help. He heard the windows go up
and saw the lights go on. He just retreated for a while and when things quieted
down, he came back to finish the job.
Later, in one of the apartment houses, a witness to part of Kitty Genoveses
murder talked. His comments . . . indicate the price in bad conscience he and his
neighbors are now paying. I feel terrible about it, he said. The thing keeps
coming back in my mind. You just dont want to get involved. They might have
picked me up as a suspect if Id bounced right out there. I was getting ready, but
my wife stopped me. She didnt want to be a heros widow. I woke up about the
third scream. I pulled the blind so hard it came off the window. The girl was on her
knees struggling to get up. I didnt know if she was drunk or what. 1 never saw
the man. She staggered a little when she walked, like she had a few drinks in her.
I forgot the screen was there and I almost put my head through it trying to get a
better look. I could see people with their heads out and hear windows going up
and down all along the street.
Every time I look out here now, he said, its like looking out at a
nightmare. How could so many of us have had the same idea that we didnt need
to do anything? But thats not all thats wrong. Now he sounded betrayed and he
told what was really eating him. Those 38 witnesses had, at least, talked to the
police after the murder. The man pointed to a nearby building. There are people
over there who saw everything, he said. And there hasnt been a peep out of
them yet. Not one peep.
http://staff.bcc.edu/jalexand/Reading-5-7--Wainright-The_Dying_Girl.htm
Appendix #7b
Focus Question Directions

Students need to be explicitly taught to answer response to literature
(open-ended, constructed response) questions. Explicit teaching
involves modeling (To: showing), practice (With: guiding), and
independence (By: independence). The following are suggestions for
moving students from guided practice to independence:
Teacher uses Answer Plan and Possible Answer to model
answering Focus Questions. (for 1 or 2 Focus Questions on the
basis of student understanding)
Students work with partners using the Answer Plan, write a
shared answer then consult the Possible Answer and revise
answer to Focus Question. (for 4+ Focus Questions)
Students work with partners building an Answer Plan, write a
shared answer, consult the Possible Answer and revise. (for 2+
Focus Questions)
Students work individually to build Answer Plan and answer
question. (Option: Students could consult the Answer Plan and
the Possible Answer to score their own or others papers.)
Have students answer Focus Questions in discussion form. After
students have had a brief discussion, have them individually
answer Focus Questions using the Answer Plan.
Appendix #8a
Macomb ELA Genre Units: Focus Question Rubric
3 (complete) 2 (partial) 1 (minimal)

Traits: Answer is relevant with Answer is relevant but has Answers question with
Content many details and few details to support or misinterpretation.
Answers question examples. explain the answer. Little or no relevance to
Uses relevant details text or question.
from text to support Ideas and content are not
answer developed or connected.
Stays on topic
Organization Student restates the Student restates the Students answer either
Restatement question in his/her own question in the answer. yes, no, or I agree
(Beginning) words. Events are retold in a without reference to the
Details in support Details support point. somewhat disconnected question.
(Middle) Response is written in a structure. Writing lacks sequence.
Conclusion (End) logical sequence that
makes connections.
Style/Voice Word choice is precise. Vocabulary is basic. Vocabulary is limited.
Uses quotes to Uses quotes effectively. May use quotations, but Quotations are not used.
support, Conclusion engages the reference is unclear. The conclusion is
Concludes with reader. Conclusion is partially ineffective or does not
prediction characters successful. exist.
feelings, opinions,
etc
Conventions/Presentation Presentation makes the Writing is readable. Writing may not be legible.
Writing is neat. writing inviting. Errors in conventions do Errors in conventions
Uses proper Writing shows control over not distract from meaning. distract from meaning.
conventions conventions.
Appendix 8b
Focus Question #1
What does the Phil Ochs song suggest about the bystanders?
Answer Plan
1. Restate the question.
2. Write several sentences that describe what the bystanders were doing.
3. Conclude with an opinion of the type of people the bystanders are.
Possible Answer
[1] In Phil Ochs song, Ochs describes what the bystanders may have
been doing while Kitty Genovese was being attacked. [2] Ochs states that
the bystanders were very aware of what was happening to the young
woman. After they have seen what is happening, they weigh their options
and choose not to inconvenience themselves. Justifying their decision by
rationalizing that most people do not care; they continue with their lives.
[3] Ochs is suggesting that the bystanders were too self-centered to be
bothered with someone elses problems.
Appendix #9
Focus Question # 2
Why does Wainright include the comments by the police officer and
witness in his account of this murder?
Answer Plan
1. Introduce the topic in one sentence.
2. Write several sentences providing details to support your point.
3. Conclude your answer by stating your opinion in one sentence.
Possible Answer
[1] Wainright includes many quotes from a police officer who
investigated the murder and from a bystander who witnessed the murder.
[2] The officer stated that people repeatedly said that they did not want to
get involved, but they only had to make an anonymous phone call. He
also said that the murderer knew that no one would do anything, so he
came back. One witness said he was haunted by the memory, but at the
time he did not want to get involved. He was even more frustrated,
though, by the people in the building across the street who did not even
talk to the police. [3] The author included this information to point out the
consequences of not wanting to get involved, both for the victim and the
witnesses.
Appendix # 10
Genre: Informational Text
Informational text gives factual information on a specific topic or event. Self-help

books, as the name implies, give advice meant to improve a persons quality of life.
Definition:
Informational text is designed primarily to explain, argue or describe rather
than to entertain. (from Harris, et al. The Literacy Dictionary, IRA, 1995)
The main function of expository text is to present the reader information
about theories, predictions, persons, facts, dates, specifications,
generalizations, limitations, and conclusions. (Michael F. Graves and Wayne
H. Slater. Research on Expository Text: Implications for Teachers in
Childrens Comprehension of Text, K. Denise Muth, editor, IRA, 1989.)
Purpose:
To acquire information
To satisfy curiosity
To understand our world more fully
To understand new concepts and expand vocabulary
To make connections to our lives and learning
To write good nonfiction
To have fun
(from Stephanie Harvey. Nonfiction Matters, Stenhouse, 1998)
Form and Features:
Informational text uses a number of forms of organization including:
Sequence of events
Description by categories
Process description
Comparison/contrast
Problem and solution
Cause and effect
Informational text
gives information,
gives necessary explanations to understand the information,
shows what is and is not important, and
often uses narrative(story) elements to make it interesting.
(from Barbara Reed and Elaine Weber. Expository Text: What Is A Teacher To Do?
ABC Publishing, 1990.)
Informational text may have some or all of the following features:
Table of contents and index
Photographs and realistic, accurate illustrations
Captions to describe photographs, illustrations, etc.
Maps and diagrams
Glossary (words with definitions)
Footnotes
Bibliographies
Appendix #11a
Informational Text Bookmark Informational Text Bookmark Inform
Gives facts or information on a specific Gives facts or information on a specific Gives facts
topic or event topic or event
Name: Name: Name:
Title: Title: Title:
List the page number and a brief reminder List the page number and a brief reminder List the pag
of the genre characteristics you find as you of the genre characteristics you find as you of the genr
read. read. read.
Gives information/facts. Gives information/facts. Gives infor
p. p. p.
p. p. p.
p. p. p.
p. p. p.
Organized by sequence, problem/solution, Organized by sequence, problem/solution, Organized
cause/effect, compare/contrast, cause/effect, compare/contrast, cause/effec
p. p. p.
p. p. p.
p. p. p.
p. p. p.
Features include: index/contents, Features include: index/contents, Features in
photographs/captions, maps/diagrams, photographs/captions, maps/diagrams, photograph
p. p. p.
p. p. p.
p. p. p.
p. p. p.
Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyrigh
Appendix #11b
Appendix #7b
Think Aloud
The Literacy Dictionary (Harris and Hodges, 10995, IRA) defines a think aloud as 1. oral verbalization, 2. in
literacy instruction a metacognitive technique or strategy in which the teacher verbalizes aloud while reading a
selection orally, thus modeling the process of comprehension (Davey, 1983).
Put another way, a think aloud is making thinking public. A teacher models what an expert would be thinking
as s/he were reading, visualizing, listening; or preparing to write, speak or visually represent. The goal of
thinking aloud is to graphically show students what they might do to understand what they are reading, viewing
or listening to, as well as, plan for writing or speaking.
Following is an example of a think aloud for figuring out the meaning of an unfamiliar word in context:
Its important while we read to be able to figure out the meaning of an unfamiliar word. When I come to a
word I dont know the meaning of, I read the words and sentences around that word to try to figure out what the
word might mean.
The other day I was reading this great mystery, The Westing Game by Ellen Raskin. I read the following
paragraph with lots of challenging words:
Sam Westing was not murdered, but one of his heirs was guilty guilty of some offense against a relentless
man. And that heir was in danger. From his grave Westing would stalk his enemy and through his heirs he
would wreak his revenge.
It was a paragraph about Sam Westing who had just died and left a challenge behind to find his killer(s). I knew
most of the words. I knew relentless meant that Sam Westing never gave up until he got what he wanted. I
knew that stalk his enemy meant that even after death, Sam Westing would somehow go after and find his
enemy. But I wasnt sure what wreak his revenge meant. I knew that revenge meant Sam Westing would get
even with his enemy, so I figured that wreak must be a stronger way to say, get his revenge.
Ive heard the word wreak before, and now Ill keep it in my mind and may be able to
use it in writing sometime. I will know it when I see it in print.
Appendix #12
District 2006
How to Summarize
Summaries contain the most important facts in an article. Usually summaries are less
than one third the length of the article being summarized.
Keep the following information in mind when you summarize a selection:
1. Identify the material you are summarizing, giving the author, title, and any
relevant publishing information.
2. Present the most important facts and the conclusion found in the article.
Follow this procedure when summarizing an article:

Read the material carefully and take notes about the most important ideas
and details.
Delete trivial, unnecessary information.
Delete redundant material.
Substitute super ordinate words for lists (ie. flowers for daisies, tulips, and
roses).
Select a topic sentence, or invent one if its missing.
Write the summary in your own words.
Make sure your summary is accurate in both content and emphasis.
The source for this information is Pickett, Nell Ann and Ann Laster. Technical English. New
York: Harper Collins College Publishers, 1996.
Appendix #13
District 2006
Summary Self-Evaluation
When you have completed your summary rough draft, use the
following checklist to revise your work. Ask yourself the following
questions:
________1. Have I deleted all trivial, unnecessary information?
________2. Have I deleted redundant material?
________3. What is the authors emphasis? What is my
emphasis? Have I accurately represented the
authors content and emphasis?
________4. Have I used the authors topic sentence or created
one of my own? What is my topic sentence?
________5. Have I written the summary in my own words?
________6. Have I identified the material I have summarized?
What is the title and who is the author?
________7. Have I followed good writing practices?

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Appendix #14
Summary Scoring Rubric
Use the following rubric or one of your own to evaluate

student papers:
1.Has the student deleted all redundant and trivial

information?
2.Does the paper accurately represent the authors

content and emphasis?
3.Does the paper contain a topic sentence or unified

idea?
4.Has the student accurately identified the material

summarized?
5.Has the student avoided plagiarism?

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Appendix #15a

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Why I Wrote "The Crucible"
by Arthur Miller
Issue of 1996-10-21
Posted 2002-04-15
"The Performance," a new short story by Arthur Miller, appears in this week's magazine and here online (see Fiction). In 1996,
Miller wrote this essay for The New Yorker, in which he reflects on the changing politics surrounding his play "The Crucible,"
which he wrote in 1952, and which is now in revival on Broadway, at the Virginia Theatre.
As I watched "The Crucible" taking shape as a movie over much of the past year, the sheer depth of time that it
represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children
and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty
years ago, in an America almost nobody I know seems to remember clearly. In a way, there is a biting irony in
this film's having been made by a Hollywood studio, something unimaginable in the fifties. But there they are
Daniel Day-Lewis (John Proctor) scything his sea-bordered field, Joan Allen (Elizabeth) lying pregnant in
the frigid jail, Winona Ryder (Abigail) stealing her minister-uncle's money, majestic Paul Scofield (Judge
Danforth) and his righteous empathy with the Devil-possessed children, and all of them looking as inevitable
as rain.
I remember those yearsthey formed "The Crucible" 's skeletonbut I have lost the dead weight of the fear I
had then. Fear doesn't travel well; just as it can warp judgment, its absence can diminish memory's truth. What
terrifies one generation is likely to bring only a puzzled smile to the next. I remember how in 1964, only
twenty years after the war, Harold Clurman, the director of "Incident at Vichy," showed the cast a film of a
Hitler speech, hoping to give them a sense of the Nazi period in which my play took place. They watched as
Hitler, facing a vast stadium full of adoring people, went up on his toes in ecstasy, hands clasped under his
chin, a sublimely self-gratified grin on his face, his body swiveling rather cutely, and they giggled at his
overacting.
Likewise, films of Senator Joseph McCarthy are rather unsettlingif you remember the fear he once spread.
Buzzing his truculent sidewalk brawler's snarl through the hairs in his nose, squinting through his cat's eyes
and sneering like a villain, he comes across now as nearly comical, a self-aware performer keeping a straight
face as he does his juicy threat-shtick.
McCarthy's power to stir fears of creeping Communism was not entirely based on illusion, of course; the
paranoid, real or pretended, always secretes its pearl around a grain of fact. From being our wartime ally, the
Soviet Union rapidly became an expanding empire. In 1949, Mao Zedong took power in China. Western
Europe also seemed ready to become Redespecially Italy, where the Communist Party was the largest

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Appendix #15b
outside Russia, and was growing. Capitalism, in the opinion of many, myself included, had nothing more to
say, its final poisoned bloom having been Italian and German Fascism. McCarthybrash and ill-mannered but
to many authentic and trueboiled it all down to what anyone could understand: we had "lost China" and
would soon lose Europe as well, because the State Departmentstaffed, of course, under Democratic
Presidentswas full of treasonous pro-Soviet intellectuals. It was as simple as that.
If our losing China seemed the equivalent of a flea's losing an elephant, it was still a phraseand a conviction
that one did not dare to question; to do so was to risk drawing suspicion on oneself. Indeed, the State
Department proceeded to hound and fire the officers who knew China, its language, and its opaque culturea
move that suggested the practitioners of sympathetic magic who wring the neck of a doll in order to make a
distant enemy's head drop off. There was magic all around; the politics of alien conspiracy soon dominated
political discourse and bid fair to wipe out any other issue. How could one deal with such enormities in a play?
"The Crucible" was an act of desperation. Much of my desperation branched out, I suppose, from a typical
Depression-era traumathe blow struck on the mind by the rise of European Fascism and the brutal anti-
Semitism it had brought to power. But by 1950, when I began to think of writing about the hunt for Reds in
America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite
their discomfort with the inquisitors' violations of civil rights, were fearful, and with good reason, of being
identified as covert Communists if they should protest too strongly.
In any play, however trivial, there has to be a still point of moral reference against which to gauge the action.
In our lives, in the late nineteen-forties and early nineteen-fifties, no such point existed anymore. The left could
not look straight at the Soviet Union's abrogations of human rights. The anti-Communist liberals could not
acknowledge the violations of those rights by congressional committees. The far right, meanwhile, was licking
up all the cream. The days of "J'accuse" were gone, for anyone needs to feel right to declare someone else
wrong. Gradually, all the old political and moral reality had melted like a Dal watch. Nobody but a fanatic, it
seemed, could really say all that he believed.
President Truman was among the first to have to deal with the dilemma, and his way of resolving itof having
to trim his sails before the howling gale on the rightturned out to be momentous. At first, he was outraged at
the allegation of widespread Communist infiltration of the government and called the charge of "coddling
Communists" a red herring dragged in by the Republicans to bring down the Democrats. But such was the
gathering power of raw belief in the great Soviet plot that Truman soon felt it necessary to institute loyalty
boards of his own.
The Red hunt, led by the House Committee on Un-American Activities and by McCarthy, was becoming the
dominating fixation of the American psyche. It reached Hollywood when the studios, after first resisting,
agreed to submit artists' names to the House Committee for "clearing" before employing them. This unleashed
a veritable holy terror among actors, directors, and others, from Party members to those who had had the
merest brush with a front organization.

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Appendix #15c
The Soviet plot was the hub of a great wheel of causation; the plot justified the crushing of all nuance, all the
shadings that a realistic judgment of reality requires. Even worse was the feeling that our sensitivity to this
onslaught on our liberties was passing from usindeed, from me. In "Timebends," my autobiography, I
recalled the time I'd written a screenplay ("The Hook") about union corruption on the Brooklyn waterfront.
Harry Cohn, the head of Columbia Pictures, did something that would once have been considered unthinkable:
he showed my script to the F.B.I. Cohn then asked me to take the gangsters in my script, who were threatening
and murdering their opponents, and simply change them to Communists. When I declined to commit this
idiocy (Joe Ryan, the head of the longshoremen's union, was soon to go to Sing Sing for racketeering), I got a
wire from Cohn saying, "The minute we try to make the script pro-American you pull out." By thenit was
1951I had come to accept this terribly serious insanity as routine, but there was an element of the marvelous
in it which I longed to put on the stage.
In those years, our thought processes were becoming so magical, so paranoid, that to imagine writing a play
about this environment was like trying to pick one's teeth with a ball of wool: I lacked the tools to illuminate
miasma. Yet I kept being drawn back to it.
I had read about the witchcraft trials in college, but it was not until I read a book published in 1867a two-
volume, thousand-page study by Charles W. Upham, who was then the mayor of Salemthat I knew I had to
write about the period. Upham had not only written a broad and thorough investigation of what was even then
an almost lost chapter of Salem's past but opened up to me the details of personal relationships among many
participants in the tragedy.
I visited Salem for the first time on a dismal spring day in 1952; it was a sidetracked town then, with
abandoned factories and vacant stores. In the gloomy courthouse there I read the transcripts of the witchcraft
trials of 1692, as taken down in a primitive shorthand by ministers who were spelling each other. But there was
one entry in Upham in which the thousands of pieces I had come across were jogged into place. It was from a
report written by the Reverend Samuel Parris, who was one of the chief instigators of the witch-hunt. "During
the examination of Elizabeth Procter, Abigail Williams and Ann Putnam"the two were "afflicted" teen-age
accusers, and Abigail was Parris's niece"both made offer to strike at said Procter; but when Abigail's hand
came near, it opened, whereas it was made up into a fist before, and came down exceeding lightly as it drew
near to said Procter, and at length, with open and extended fingers, touched Procter's hood very lightly.
Immediately Abigail cried out her fingers, her fingers, her fingers burned. . . ."
In this remarkably observed gesture of a troubled young girl, I believed, a play became possible. Elizabeth
Proctor had been the orphaned Abigail's mistress, and they had lived together in the same small house until
Elizabeth fired the girl. By this time, I was sure, John Proctor had bedded Abigail, who had to be dismissed
most likely to appease Elizabeth. There was bad blood between the two women now. That Abigail started, in
effect, to condemn Elizabeth to death with her touch, then stopped her hand, then went through with it, was
quite suddenly the human center of all this turmoil.
All this I understood. I had not approached the witchcraft out of nowhere, or from purely social and political
considerations. My own marriage of twelve years was teetering and I knew more than I wished to know about
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where the blame lay. That John Proctor the sinner might overturn his paralyzing personal guilt and become the
Appendix #15d
most forthright voice against the madness around him was a reassurance to me, and, I suppose, an inspiration:
it demonstrated that a clear moral outcry could still spring even from an ambiguously unblemished soul.
Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it,
and a play began to accumulate around this man.
But as the dramatic form became visible, one problem remained unyielding: so many practices of the Salem
trials were similar to those employed by the congressional committees that I could easily be accused of
skewing history for a mere partisan purpose. Inevitably, it was no sooner known that my new play was about
Salem than I had to confront the charge that such an analogy was speciousthat there never were any witches
but there certainly are Communists. In the seventeenth century, however, the existence of witches was never
questioned by the loftiest minds in Europe and America; and even lawyers of the highest eminence, like Sir
Edward Coke, a veritable hero of liberty for defending the common law against the king's arbitrary power,
believed that witches had to be prosecuted mercilessly. Of course, there were no Communists in 1692, but it
was literally worth your life to deny witches or their powers, given the exhortation in the Bible, "Thou shalt not
suffer a witch to live." There had to be witches in the world or the Bible lied. Indeed, the very structure of evil
depended on Lucifer's plotting against God. (And the irony is that klatches of Luciferians exist all over the
country today, there may even be more of them now than there are Communists.)
As with most humans, panic sleeps in one unlighted corner of my soul. When I walked at night along the
empty, wet streets of Salem in the week that I spent there, I could easily work myself into imagining my terror
before a gaggle of young girls flying down the road screaming that somebody's "familiar spirit" was chasing
them. This anxiety-laden leap backward over nearly three centuries may have been helped along by a particular
Upham footnote. At a certain point, the high court of the province made the fatal decision to admit, for the first
time, the use of "spectral evidence" as proof of guilt. Spectral evidence, so aptly named, meant that if I swore
that you had sent out your "familiar spirit" to choke, tickle, or poison me or my cattle, or to control my
thoughts and actions, I could get you hanged unless you confessed to having had contact with the Devil. After
all, only the Devil could lend such powers of invisible transport to confederates, in his everlasting plot to bring
down Christianity.
Naturally, the best proof of the sincerity of your confession was your naming others whom you had seen in the
Devil's companyan invitation to private vengeance, but made official by the seal of the theocratic state. It
was as though the court had grown tired of thinking and had invited in the instincts: spectral evidencethat
poisoned cloud of paranoid fantasymade a kind of lunatic sense to them, as it did in plot-ridden 1952, when
so often the question was not the acts of an accused but the thoughts and intentions in his alienated mind.
The breathtaking circularity of the process had a kind of poetic tightness. Not everybody was accused, after all,
so there must be some reason why you were. By denying that there is any reason whatsoever for you to be
accused, you are implying, by virtue of a surprisingly small logical leap, that mere chance picked you out,
which in turn implies that the Devil might not really be at work in the village or, God forbid, even exist.
Therefore, the investigation itself is either mistaken or a fraud. You would have to be a crypto-Luciferian to say
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thatnot a great idea if you wanted to go back to your farm.
The more I read into the Salem panic, the more it touched off corresponding images of common experiences in
Appendix #15e
the fifties: the old friend of a blacklisted person crossing the street to avoid being seen talking to him; the
overnight conversions of former leftists into born-again patriots; and so on. Apparently, certain processes are
universal. When Gentiles in Hitler's Germany, for example, saw their Jewish neighbors being trucked off, or
farmers in Soviet Ukraine saw the Kulaks vanishing before their eyes, the common reaction, even among those
unsympathetic to Nazism or Communism, was quite naturally to turn away in fear of being identified with the
condemned. As I learned from non-Jewish refugees, however, there was often a despairing pity mixed with
"Well, they must have done something." Few of us can easily surrender our belief that society must somehow
make sense. The thought that the state has lost its mind and is punishing so many innocent people is
intolerable. And so the evidence has to be internally denied.
I was also drawn into writing "The Crucible" by the chance it gave me to use a new languagethat of
seventeenth-century New England. That plain, craggy English was liberating in a strangely sensuous way, with
its swings from an almost legalistic precision to a wonderful metaphoric richness. "The Lord doth terrible
things amongst us, by lengthening the chain of the roaring lion in an extraordinary manner, so that the Devil is
come down in great wrath," Deodat Lawson, one of the great witch-hunting preachers, said in a sermon.
Lawson rallied his congregation for what was to be nothing less than a religious war against the Evil One
"Arm, arm, arm!"and his concealed anti-Christian accomplices.
But it was not yet my language, and among other strategies to make it mine I enlisted the help of a former
University of Michigan classmate, the Greek-American scholar and poet Kimon Friar. (He later translated
Kazantzakis.) The problem was not to imitate the archaic speech but to try to create a new echo of it which
would flow freely off American actors' tongues. As in the film, nearly fifty years later, the actors in the first
production grabbed the language and ran with it as happily as if it were their customary speech.
"The Crucible" took me about a year to write. With its five sets and a cast of twenty-one, it never occurred to
me that it would take a brave man to produce it on Broadway, especially given the prevailing climate, but
Kermit Bloomgarden never faltered. Well before the play opened, a strange tension had begun to build. Only
two years earlier, the "Death of a Salesman" touring company had played to a thin crowd in Peoria, Illinois,
having been boycotted nearly to death by the American Legion and the Jaycees. Before that, the Catholic War
Veterans had prevailed upon the Army not to allow its theatrical groups to perform, first, "All My Sons," and
then any play of mine, in occupied Europe. The Dramatists Guild refused to protest attacks on a new play by
Sean O'Casey, a self-declared Communist, which forced its producer to cancel his option. I knew of two
suicides by actors depressed by upcoming investigation, and every day seemed to bring news of people exiling
themselves to Europe: Charlie Chaplin, the director Joseph Losey, Jules Dassin, the harmonica virtuoso Larry
Adler, Donald Ogden Stewart, one of the most sought-after screenwriters in Hollywood, and Sam Wanamaker,
who would lead the successful campaign to rebuild the Old Globe Theatre on the Thames.
On opening night, January 22, 1953, I knew that the atmosphere would be pretty hostile. The coldness of the
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crowd was not a surprise; Broadway audiences were not famous for loving history lessons, which is what they
made of the play. It seems to me entirely appropriate that on the day the play opened, a newspaper headline
read "ALL 13 REDS GUILTY"a story about American Communists who faced prison for "conspiring to teach
and advocate the duty and necessity of forcible overthrow of government." Meanwhile, the remoteness of the
production was guaranteed by the director, Jed Harris, who insisted that this was a classic requiring the actors
Appendix #15f
to face front, never each other. The critics were not swept away. "Arthur Miller is a problem playwright in both
senses of the word," wrote Walter Kerr of the Herald Tribune, who called the play "a step backward into
mechanical parable." The Times was not much kinder, saying, "There is too much excitement and not enough
emotion in 'The Crucible.' " But the play's future would turn out quite differently.
About a year later, a new production, one with younger, less accomplished actors, working in the Martinique
Hotel ballroom, played with the fervor that the script and the times required, and "The Crucible" became a hit.
The play stumbled into history, and today, I am told, it is one of the most heavily demanded trade-fiction
paperbacks in this country; the Bantam and Penguin editions have sold more than six million copies. I don't
think there has been a week in the past forty-odd years when it hasn't been on a stage somewhere in the world.
Nor is the new screen version the first. Jean-Paul Sartre, in his Marxist phase, wrote a French film adaptation
that blamed the tragedy on the rich landowners conspiring to persecute the poor. (In truth, most of those who
were hanged in Salem were people of substance, and two or three were very large landowners.)
It is only a slight exaggeration to say that, especially in Latin America, "The Crucible" starts getting produced
wherever a political coup appears imminent, or a dictatorial regime has just been overthrown. From Argentina
to Chile to Greece, Czechoslovakia, China, and a dozen other places, the play seems to present the same
primeval structure of human sacrifice to the furies of fanaticism and paranoia that goes on repeating itself
forever as though imbedded in the brain of social man.
I am not sure what "The Crucible" is telling people now, but I know that its paranoid center is still pumping out
the same darkly attractive warning that it did in the fifties. For some, the play seems to be about the dilemma
of relying on the testimony of small children accusing adults of sexual abuse, something I'd not have dreamed
of forty years ago. For others, it may simply be a fascination with the outbreak of paranoia that suffuses the
playthe blind panic that, in our age, often seems to sit at the dim edges of consciousness. Certainly its
political implications are the central issue for many people; the Salem interrogations turn out to be eerily exact
models of those yet to come in Stalin's Russia, Pinochet's Chile, Mao's China, and other regimes. (Nien Cheng,
the author of "Life and Death in Shanghai," has told me that she could hardly believe that a non-Chinese
someone who had not experienced the Cultural Revolutionhad written the play.) But below its concerns with
justice the play evokes a lethal brew of illicit sexuality, fear of the supernatural, and political manipulation, a
combination not unfamiliar these days. The film, by reaching the broad American audience as no play ever can,
may well unearth still other connections to those buried public terrors that Salem first announced on this
continent.
One thing moresomething wonderful in the old sense of that word. I recall the weeks I spent reading
testimony by the tome, commentaries, broadsides, confessions, and accusations. And always the crucial
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damning event was the signing of one's name in "the Devil's book." This Faustian agreement to hand over one's
soul to the dreaded Lord of Darkness was the ultimate insult to God. But what were these new inductees
supposed to have done once they'd signed on? Nobody seems even to have thought to ask. But, of course,
actions are as irrelevant during cultural and religious wars as they are in nightmares. The thing at issue is
buried intentionsthe secret allegiances of the alienated heart, always the main threat to the theocratic mind,
as well as its immemorial quarry. www.newyorker.com/printables/archive/020422fr_archive02
Appendix #15g
Focus Question #3
What parallels did Miller see between the Salem witch trials and the Senate hearings?
Answer Plan
1. Introduce the answer by restating the question.
2. Write several sentences showing the parallels between the two events.
3. Conclude with your opinion about the similarities between the events.
Possible Answer
[1] Arthur Miller saw a number of parallels between the Salem witch trials and the Senate
hearings during the Red Scare. [2] Miller saw liberals become paralyzed when they saw
civil rights being violated and feared that they would be accused, just as the Puritans
became fearful of speaking out. The Red Scare, like the witch trials, dominated peoples
minds. Just as Proctor spoke out against the accusations, Miller believed that individuals
could still speak out. Also, people could be excused from the accusations by naming
others during the Red Scare, just as the accused in Salem could escape the consequences
by naming others. [3] Those who wield power can use similar tactics to try to intimidate
others, but people need to use their individual powers to fight back.

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Appendix #16

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Building Background
Good Night, and Good Luck
MPAA: Rated PG for mild thematic elements and brief language.
Runtime: 93 min
Who was Joseph McCarthy? What is communism? What Factors contributed to the
end of McCarthyism and the
Red Scare?
Appendix #17

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Puritanism
Data Wall Topics
1. ________________________ Life in Massachusetts in the late 1600s.

2. ________________________ Theocracy
3. ________________________ Puritanism
4. ________________________ Witchcraft in New England
5. ________________________ Predestination or Foreordination
6. ________________________ Covenanted
7. ________________________ Excommunication
8. ________________________ McCarthyism
9. ________________________ Red Scare
10. ________________________ Salem Witch Trials
11. ________________________ Puritan concept of the devil
12. ________________________ Hysteria
13. ________________________ Black Magic in the 1600s
14. ________________________ Slave Trade in Barbados
15. ________________________ Voodoo in the 1600s
16. ________________________ Arthur Miller
17. ________________________ Punishment for witches
18. ________________________ Witchcraft in Europe in the 1400s to
1600s

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Appendix #18

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Genre: Drama
A drama tells a story, usually of human conflict, through dialogue and action.
Drama
Definition:
A story in dramatic form, typically emphasizing conflict in key characters and
written to be performed by actors (from Harris, et al. The Literacy Dictionary, IRA,
1995)
three necessary elements in drama: (1) a story (2) told in action (3) by
characters who impersonate the characters of the story (Thrall and Hibbert, A
Handbook to Literature, Odyssey Press,1960)
Purpose:
To entertain
To provoke thought and emotion
To present a visual and aural experience for the audience
Form and Features:
Dramas/plays consist of two parts: spoken dialogue and stage directions:
Stage directions describe setting, lighting, movement of characters and
props, intonation of dialogue, costumes.
Setting for each scene is given in italics at the beginning of the text for that
scene.
Stage directions are usually in italics and square brackets at the appropriate
place in the script.
Stage directions begin with a capital letter and end with a period, even if not
complete sentences.
Lines and sections are sometimes numbered on the left-hand side of the
page so references can be made, like definitions.
There is usually at least one antagonist and one protagonist.
Characters names are listed at the beginning of the drama/play, usually in the
order of their appearance. This listing often includes brief information including:
age, appearance, role in the play, and/or relationship to other characters in the
play.
Conflict, the tension that exists between the forces in the characters life, is
important in drama and can be in four forms:
- Person against self
- Person against person
- Person against nature
- Person against society
Dramatic structure has been compared to the tying and untying of a knot. The
structure of dramatic conflict includes the following:
Exposition creates the tone, introduces the setting and some of the characters and gives
background
Rising Action or Complication sets the action in motion, continues through stages of Conflict
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to the Climax.
Falling Action stresses the activity of the forces opposing the hero as the action moves to the
Denouement or resolution
Dramas may include flashbacks and/or soliloquies
Appendix #19

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Drama Bookmark Drama Bookmark Drama Bookmark
Tells a story, usually of human conflict, Tells a story, usually of human conflict, Tells a story, usually of human conflict,
through dialogue and action through dialogue and action through dialogue and action
Name: Name: Name:
Title: Title: Title:
List the page number and a brief reminder List the page number and a brief reminder List the page number and a brief reminder
of the genre characteristics you find as you of the genre characteristics you find as you of the genre characteristics you find as you
read. read. read.
Conflict includes: person-against-self, Conflict includes: person-against-self, Conflict includes: person-against-self,

person-against-person, person-against- person-against-person, person-against- person-against-person, person-against-
Structure includes Exposition, Rising Action, Structure includes Exposition, Rising Action, Structure includes Exposition, Rising Action,
Climax and Denouement find examples. Climax and Denouement find examples. Climax and Denouement find examples.
p. p. p.
p. p. p.
p. p. p.
p. p. p.
Find examples of stage directions: Find examples of stage directions: Find examples of stage directions:
descriptions of setting, lighting, movement, descriptions of setting, lighting, movement, descriptions of setting, lighting, movement,
p. p. p.
p. p. p.
p. p. p.
p. p. p.
Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved.
Appendix #20
ELA High School Unit10.1 Appendix Macomb Intermediate School District 2006
Focus Question #4
How does Miller describe Puritan beliefs and Salem, Massachusetts

in 1692?
Answer Plan
2. Write several sentences giving details about Puritanism.
3. Write several sentences about the setting.
4. Conclude by explaining how these two factors might affect the
storyline.
Possible Answer
[1] In Act I of The Crucible, Arthur Miller provides background

information about Puritan beliefs and the setting for his story. [2]
The Puritans were a dedicated, serious, and deeply exclusive group,
believing that outside influences and vain enjoyment could corrupt
their beliefs. As a dedicated and hard-working group, they managed
to find success in a difficult land. By the time the story starts, some
Puritans had become weary of the hard-handed justice and self-
denial which characterized their religion. A pursuit of individualism,
the want to purge feelings of guilt by showcasing others faults, and
the need to express vengeance and greed threatened their sense of
community. [3] Salem was a newer village at the time of the story.
The landscape and climate of Massachusetts forced its inhabitants
to focus on community, hard work, and dedication to a common
goal. Living on the edge of the wilderness created fear among

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Puritans living in Salem for they believed that the forest was the
devils last preserve. [4] It seems that both Puritan beliefs and the
demands of the land lend to a sense of tension. This tension should
make for interesting conflict and affect interaction between
characters.
Appendix #21

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Exit Ticket
Day 11
Name:
Entrance Ticket
Day 16
Name:
How does Mary Warrens power affect her?
Appendix #22

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Directions for Character Bookmarks
Bookmarks are designed to be used to record information about major and minor
characters in almost any literary piece.
By handing bookmarks out as characters are introduced, it allows students to record

introductory information provided by the author.
Also, by continuing to use the bookmarks as a spot for recording information

gained throughout the entire piece, the final product will serve a study guide for
each character.
The sample is a completed bookmark for the character of Reverend Samuel Parris
from The Crucible. It is designed only as a model for teachers. When modeling for
students, use only information gained in the beginning of the work. (Showing them
the finished product will ruin the ending of the story!)
Encourage students to use the backs of these bookmarks to draw illustrations of key
scenes from the story, record unfamiliar vocabulary words, or information about
less significant characters (those with only a handful of lines, limited impact on the
story, or who lack development).
Appendix 23a

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The Crucible Character List
Major
Minor One Liners
Reverend Parris
Tituba Betty Parris
Abigail Williams
Thomas and Ann Suzanna Walcott
Reverend John Hale Putnam
Mercy Lewis
John Proctor Rebecca Nurse
Ezekial Cheever
Elizabeth Proctor Giles Corey
Marshall Herrick
Mary Warren Francis Nurse
Sarah Good
Judge Danforth Judge Hathorne
Hopkins
(Martha Corey)
(Ruth Putnam)
Appendix 23b

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__________________________________________________
Character Name
Occupation: _______________________________________
Related To: _______________________________________
Physical Description:_______________________________
____________________________________________________________________________________________________
Background Info:
____________________________________________________________________________________________________________
____________________________________________________________________________________________
Personality:
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________
Action(s) Taken:
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________
Use of Power:
____________________________________________________________________________________________________________
____________________________________________________________________________________________
End Result:
____________________________________________________________________________________________________________
__________________________________________
Misc. Info:
____________________________________________________________________________________________________
Appendix 23c
__________________________________________________
Character Name
Occupation: _______________________________________
Related To: _______________________________________
Physical Description:_______________________________
____________________________________________________________________________________________________
Background Info:
____________________________________________________________________________________________________________
____________________________________________________________________________________________

District 2006
Personality:
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________
Action(s) Taken:
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________
Use of Power:
____________________________________________________________________________________________________________
____________________________________________________________________________________________
End Result:
____________________________________________________________________________________________________________
__________________________________________
Misc. Info:
____________________________________________________________________________________________________

District 2006
Samuel Parris
Character Name
Occupation:
_Reverend_____________________________
Related To: _Betty (daughter), Abigail Williams

(niece)
Physical Description:_middle
40s____________________
Background Info: _former merchant in Barbados; cut

a villainous path; widower; spied on the girls in the
woods _________________________________________
Personality: _believes he is being persecuted; easily

offended; no interest in children; has many enemies;
self-centered; concerned with golden candlesticks;
preached only about money and hell; believes Proctor
is trying to run him out of town; doesnt want to be
proven wrong_____________________________
Action(s) Taken: _fears enemies with run him out of

Salem if witchcraft is discovered in his house; calls
on Reverend Hale; threatens to kill Tituba if she does
not confess; serves as witness to the court
proceedings; tells Mary Warren to faint; was robbed
by Abigail; encourages Danforth to postpone the
proceedings because he found a dagger in his door;
depreately wants Proctor to confess; _____________
Use of Power: _uses position as Reverend to gain

money and power; accuses anyone who goes against
him of going against God; bends Danforths ear
against Proctor and other truth tellers; tries to get
out of his situation to protect himself; goes with the
winning side_____________________________
End Result: _is voted out of office, run out town,

and is never heard from again
_________________________
Misc. Info: _Slave named Tituba________________

Appendix 23d
Focus Question #5
Describe Reverend Parris and his motives and motivations in

Act One.
Answer Plan

2. Write several sentences summarizing what we have learned about
Reverend Parris.
3. Compose several sentences explaining what motivates Parris.
4. Conclude by giving your opinion of Reverend Parris
Possible Answer:
[1] In Act One, we learn who Reverend Parris is and what

motivates him. [2] Reverend Parris is a widower and former
merchant who did some questionable things in his past. He
believes he is constantly being persecuted and is easily offended.
[3] Parris claims he has many enemies and tries to avoid crossing
them. Proctor also claims that Parris is overly concerned with
money and land. [4] Parris seems very self-centered and only out
to protect himself. I would expect more from a man given so
much power by the community; after all, he is a man of God.
Appendix #24
Focus Question #6
What have we learned about Abigail Williams?
Answer Plan

2. Write several sentences summarizing what we have learned about Abigail Williams.
3. Conclude by giving your opinion of Abigail Williams.
Possible Answer:
[1] Abigail Williams is an interesting and multi-dimensional character. [2] Abigail

pretends to be a sweet and proper girl, but we quickly discover that she is harsh,
manipulative, violent, vengeful, and crafty. She will do anything to protect herself, and
she holds all of the power in her social group. She was also fired from her job with the
Proctor family. [3] Abigail is deceptive and charminga dangerous combination. I
anticipate that she will do whatever she has to to get what she wants.
Appendix #25
Focus Question #7
Explain John Proctors vision of himself.
Answer Plan

2. Write several sentences summarizing what we have learned about John
Proctor.
3. Compose several sentences explaining what beliefs he has and what
has shaped those beliefs.
4. Conclude with a personal observation about how self-image affects
ones life.
Possible Answer:
[1] John Proctor sees himself differently from the way most people in
Salem see him. [2] Proctor is a farmer in his 30s. He is considered a
powerful man who does not allow himself to be swayed by the
expectations of others. [3] Proctor has committed the sin of adultery.
He acted in a way that is not only morally wrong according to his
religion, but wrong according to his own standards of decency.
Because others do not know of his crime, they still hold him in high
regard. He sees himself as a fraud and is weighed down by his moral
failures. [4] Self image is powerful. What we think of ourselves affects
our attitude, choices, and how we allow others to treat us.
Appendix #26
Focus Question #8
Describe Reverend John Hales background, beliefs, and purpose.
Answer Plan

2. Write several sentences summarizing what we have learned about
Reverend Hale.
3. Compose several sentences explaining what Hale believes is his
purpose.
4. Conclude by giving your opinion of John Hale.
Possible Answer:
[1] Reverend John Hale of Beverly is a unique character. [2] Hale is a

man of learning who supposedly encountered a witch in his village. He
believes profoundly in God and the existence of evil. [3] He considers
it his duty to root out the devil using all of the learning he has
acquired. [4] Hale seems to be a good man, but he also seems to be
too sure of himself and his ability to cast out the evil that has
supposedly gripped Salem.
Appendix #27
Focus Question # 9
Why did Tituba, Abigail, and Betty confess?
Answer Plan:

2. Compose several sentences summarizing what we have learned about Tituba.
3. Compose several sentences explaining what leads up to the confessions.
4. Compose several sentences explaining why Titbua confessed.
5. Compose several sentences explaining why Abigail and Betty confessed.
6. Conclude by predicting how these confessions will affect the next act.
Possible answer:
[1] At the end of Act One, Tituba, Abigail, and Betty confess. [2]
Tituba. a slave from Barbados, works for Parris and is deeply devoted
to his daughter, Betty. [3] Hales arrival marks the beginning of the
chain of events leading to the confessions. He questions the girls
about their activities in the woods, and Abigail blames Tituba for their
wicked actions. This gets the focus off of Abigail and onto the person
who is normally blamed for things in the Parris household. [4] Tituba
confesses because she has no other choice. Parris threatens to kill
Tituba if she doesnt confess. Also, the Putnams provide her with the
names of others she can say she saw with the devil. [5] After seeing
how grateful and forgiving Hale (and the rest of the community) is to
Tituba for confessing, Abigail realizes that this is the perfect way to
gain power (she gets to name names) and get out of explaining Bettys
illness. Betty follows Abigails lead and confesses to signing her name
in the devils book. [6] Since so many women were named, I predict
the next act will revolve around bringing these women to trial.
Appendix # 28
Vocabulary In Context Strategy
Learning vocabulary in context is much more powerful and

effective. Students understand the words better, will remember
them, and will more often recognize the word and its meaning
when next encountered. This is a simple vocabulary strategy that
only involves dictionary work as a last resort.
Procedures:
Assign or let students chose partners.

Display the vocabulary words with page numbers.
Tell students in partners to:
1. find each listed word,

2. read the sentences (context) around the word, then try to
figure out what the word means,
3. check their definitions with the dictionary (if necessary),
and
4. jot down their working definition in their own words,
and
5. also write down why this word is important to the
selection.
Encourage students to begin to keep a personal dictionary of new

words that they might use in conversation and in writing.
Appendix #29
Focus Question #10a
Is Elizabeth right to continue to mistrust John even though his affair with Abigail has been over for seven
months? Or is John right in believing that by now Elizabeth should have forgiven and forgotten his
affair with Abigail and come to trust him again? Choose to support either Elizabeths or Johns
viewpoint in your answer.
Answer Plan
1. Choose which characters viewpoint you will support and introduce the answer by restating the question.
2. Write several sentences in support of your answer.
3. Conclude with a sentence or two describing what either Elizabeth or John could do to heal their
marriage.
Possible Answer in Support of Elizabeths Viewpoint
[1] Elizabeth should not be expected to fully trust John within seven months of the end of his affair with
Abigail. [2] First of all, seven months is not a sufficient length of time for Elizabeth to regain her trust in John
after such a serious violation of their marriage vows. Second, John lied to Elizabeth about being alone with
Abigail, which arouses her suspicion that the affair may not be over as John has said. Finally, John confessed
to the affair only after Elizabeth had expressed her suspicion about his relationship with Abigail; one wonders
if the affair would have continued indefinitely had Elizabeth not been so perceptive. [3] John could further
the healing of their marriage by willingly telling the court about Abigails private confession that the girls
sickness had nothing to do with witchcraft. This would greatly ease Elizabeths fear that he still has feelings
for Abigail.
Appendix #30a
Focus Question #10b
Is Elizabeth right to continue to mistrust John even though his affair with Abigail has
been over for seven months? Or is John right in believing that by now Elizabeth should
have forgiven and forgotten his affair with Abigail and come to trust him again? Choose
to support either Elizabeths or Johns viewpoint in your answer.
Answer Plan
1. Choose which characters viewpoint you will support and introduce the
answer by restating the question.
2. Write several sentences in support of your answer.
3. Conclude with a sentence or two describing what either Elizabeth or
John could do to heal their marriage.
Possible Answer in Support of Johns Viewpoint
[1] John has the right to have regained Elizabeths trust after seven months since the end of his affair with
Abigail. [2] First of all, John has done everything he can to please Elizabeth since the affair ended a full seven
months ago; he even offers to buy her a heifer to make her life easier. Second, he only goes to Salem when he
has business there so as not to cause Elizabeth to worry that he may be going to see Abigail. Finally, he
confessed to the affair when Elizabeth expressed her suspicions about his relationship with Abigail; a lesser
man would have roared down her suspicions and ended the affair without his wifes knowledge that it really
happened. [3] Elizabeth could further the healing of their marriage by ceasing her relentless doubt and
judgment of Johns words, actions, and whereabouts.
Appendix #30a
Readers Theater #1 Act Two
Adapted from The Crucible by Arthur Miller
NARRATOR: __________________________
CHEEVER: __________________________
PROCTOR: __________________________
GILES: __________________________
HALE: __________________________
ELIZABETH: __________________________
MARY WARREN: __________________________
HERRICK: __________________________
FRANCIS: __________________________
NARRATOR: Enter Marshal Herrick, a man in his early thirties, who is somewhat shamefaced at the
moment.
CHEEVER: Good evening to you, Proctor.
PROCTOR: Why, Mr. Cheever. Good evening.
CHEEVER: Good evening, all. Good evening, Mr. Hale.
PROCTOR: I hope you come not on business of the court.
CHEEVER: I do, Proctor, aye. I am clerk of the court now, yknow.
GILES: Its a pity, Ezekiel, that an honest tailor might have gone to Heaven must burn in Hell.
Youll burn for this, do you know it?
CHEEVER: You know yourself I must do as Im told. You surely know that, Giles. And Id as lief
youd not be sending me to Hell. I like not the sound of it, I tell you; I like not the sound
of it. Now believe me, Proctor, how heavy be the law, all its tonnage I do carry on my
back tonight. I have a warrant for your wife.
Appendix #31
PROCTOR: You said she were not charged!
HALE: I know nothin of it. When were she charged?
CHEEVER: I am given sixteen warrant tonight, sir, and she is one.
PROCTOR: Who charged her?
CHEEVER: Why, Abigail Williams charge her.
PROCTOR: On what proof, what proof?
CHEEVER: Mr. Proctor, I have little time. The court bid me search your house, but I like not to
search a house. So will you hand me any poppets that your wife may keep here?
PROCTOR: Poppets?
ELIZABETH: I never kept no poppets, not since I were a girl.
CHEEVER: (embarrassed) I spy a poppet, Goody Proctor.
ELIZABETH: Oh! Why, this is Marys.
CHEEVER: (shyly) Would you please to give it to me?
ELIZABETH: Has the court discovered a text in poppets now?
CHEEVER: Do you keep any others in this house?
PROCTOR: No, nor this one either till tonight. What signifies a poppet?
CHEEVER: Why, a poppeta poppet may signifyNow, woman, will you please to come with me?
PROCTOR: She will not! Fetch Mary here.
CHEEVER: No, no, I am forbid to leave her from my sight.
PROCTOR: Youll leave her out of sight and out of mind, Mister. Fetch Mary, Elizabeth.
HALE: What signifies a poppet, Mr. Cheever?
CHEEVER: Why, they say it may signify that she (his eyes widen in astonished fear)Why, this, this

Appendix #31a
PROCTOR: Whats there?

CHEEVER: Whyit is a needle! Herrick, Herrick, it is a needle!
PROCTOR: (angrily, bewildered) And what signifies a needle!
CHEEVER: Why, this go hard with her, Proctor, thisI had my doubts, Proctor, I had my doubts, but
heres calamity. You see it, sir, it is a needle!
HALE: Why? What meanin has it?
CHEEVER: (wide eyed, trembling) The girl, the Williams girl, Abigail Williams, sir. She sat to dinner
in Reverend Parriss house tonight, and without work nor warnin she falls to the floor.
Like a struck beast, he says, and screamed a scream that a bull would weep to hear. And
he goes to save her, and, stuck two inches in the flesh of her belly, he draw a needle out.
And demandin of her how she come to be so stabbed, shetestify it were your wifes
familiar spirit pushed it in.
PROCTOR: Why, she done it herself! I hope youre not takin this for proof, Mister!
CHEEVER: Tis hard proof! I find here a poppet Goody Proctor keeps. I have found it, sir. And in
the belly of the poppet a needles stuck. I tell you true, Proctor, I never warranted to see
such proof of Hell, and I bid you obstruct me not, for I
NARRATOR: Enter Elizabeth with Mary Warren. Proctor, seeing Mary Warren, draws her by the arm
to Hale.
PROCTOR: Here now! Mary, how did this poppet come into my house?
MARY WARREN: (frightened for herself, her voice very small) What poppets that, sir?
PROCTOR: (impatiently) This poppet, this poppet.
MARY WARREN: (evasively) Why, II think it is mine.
PROCTOR: It is your poppet, is it not?
MARY WARREN: Itis, sir.
PROCTOR: And how did it come into this house?
MARY WARREN: WhyI made it in the court, sir, andgive it to Goody Proctor tonight.
Appendix #31b
PROCTOR: Now, sirdo you have it?

HALE: Mary Warren, a needle have been found inside this poppet.
MARY WARREN: (bewildered) Why, I meant to harm by it, sir.
PROCTOR: You stuck that needle in yourself?
MARY WARREN: II believe I did, sir, I
PROCTOR: (to Hale) What say you now?
HALE: Child, you are certain this be your natural memory? May it be, perhaps, that someone
conjures you even now to say this?
MARY WARREN: Conjures me? Why, no, sir, I am entirely myself, I think. Let you ask Susanna Walcott
she saw me sewin it in court. Ask Abby, Abby sat beside me when I made it.
PROCTOR: (to Hale, of Cheever) Bid him begone. Your mind is surely settled now. Bid him out, Mr.
Hale.
ELIZABETH: What signifies a needle?
HALE: Maryyou charge a cold and cruel murder on Abigail.
MARY WARREN: Murder! I charge no
HALE: Abigail were stabbed tonight; a needle were found stuck into her belly
ELIZABETH: And she charges me?
HALE: Aye.
ELIZABETH: (Her breath knocked out) Why! The girl is murder! She must be ripped out of the
world!
CHEEVER: Youve heard that, sir! Ripped out of the world! Herrick, you heard it!
PROCTOR: (snatching the warrant out of Cheevers hands) Out with you.
CHEEVER: Proctor, you dare not touch the warrant.
PROCTOR: (ripping the warrant) Out with you!
Appendix #31c
CHEEVER: Youve ripped the Deputy Governors warrant, man!
PROCTOR: Damn the Deputy Governor! Out of my house!

HALE: Now, Proctor, Proctor!
PROCTOR: Get ygone with them! You are a broken minister.
HALE: Proctor, if she is innocent, the court
PROCTOR: If she is innocent! Why do you never wonder if Parris be innocent, or Abigail? Is the
accuser always holy now? Were they born this morning as clean as Gods fingers? Ill
tell you whats walking Salemvengeance is walking Salem. We are what we always
were in Salem, but now the little crazy children are jangling the keys of the kingdom, and
common vengeance writes the law! This warrants vengeance! Ill not give my wife to
vengeance!
ELIZABETH: Ill go, John
PROCTOR: You will not go!
HERRICK: I have nine men outside. You cannot keep her. The law binds me, John, I cannot budge.
PROCTOR: (to Hale) Will you see her taken?
HERRICK: I have nine men outside. You cannot keep her. The law binds me, John.
PROCTOR: Will you see her taken?
HALE: Proctor, the court is just
PROCTOR: Pontius Pilate! God will not let you wash your hands of this!
ELIZABETH: JohnI think I must go with them. Mary, there is bread enough for the morning; you
will bake, in the afternoon. Help Mr. Proctor as you were his daughteryou owe me
that, and much more. (To Proctor) When the children wake, speak nothing of witchcraft
it will frighten them.
PROCTOR: I will bring you home. I will bring you soon.
ELIZABETH: Oh, John, bring me soon!
PROCTOR: I will fall like an ocean on that court! Fear nothing, Elizabeth.
Appendix #31d
ELIZABETH: (with great fear) I will fear nothing. Tell the children I have gone to visit someone sick.
NARRATOR: She walks out the door, Herrick and Cheever behind her. For a moment, Proctor watches
from the doorway. The clank of chain is heard.
PROCTOR: Herrick! Herrick, dont chain her! Damn you, man, you will not chain her! Off with
them! Ill not have it! I will not have her chained!
GILES: And yet silent, minister? It is fraud, you know it is fraud! What keeps you, man?
PROCTOR: Ill pay you, Herrick, I will surely pay you!
HERRICK: In Gods name, John, I cannot help myself. I must chain them all. Now let you keep
inside this house till I am gone!
HALE: Mr. Proctor
PROCTOR: Out of my sight!
HALE: Charity, Proctor, charity. What I have heard in her favor, I will not fear to testify in
court. God help me, I cannot judge her guilty or innocentI know not. Only this
consider: the world goes mad, and it profit nothing you should lay the cause to the
vengeance of a little girl.
PROCTOR: You are a coward! Though you be ordained in Gods own tears, you are a coward now!
HALE: Proctor, I cannot think God be provoked so grandly by such a petty cause. The jails are
packedour greatest judges sit in Salem nowand hangins promised. Man, we must
look to cause proportionate. Were there murder done, perhaps, and never brought to
light? Abomination? Some secret blasphemy that stinks to Heaven? Think on cause,
man, and let you help me to discover it. For theres your way, believe it, there is your
only way, when such confusion strikes upon the world. (He goes to Giles and Francis)
Let you counsel among yourselves; think on your village and what may have drawn from
heaven such thundering wrath upon you all. I shall pray God open up our eyes.
FRANCIS: I never heard no murder done in Salem.
PROCTOR: (He has been reached by Hales words) Leave me, Francis, leave me.
GILES: (shaken) Johntell me, are we lost?
PROCTOR: Go home now, Giles. Well speak on it tomorrow.
GILES: Let you think on it. Well come early, eh?
Appendix #31e
PROCTOR: Aye. Go now, Giles.
GILES: Good night, then.

MARY WARREN: (in a fearful squeak of a voice) Mr. Proctor, very likely theyll let her come home once
theyre given proper evidence.
PROCTOR: Youre coming to the court with me, Mary. You will tell it in the court.
MARY WARREN: I cannot charge murder on Abigail.
PROCTOR: You will tell the court how that poppet come here and who stuck the needle in.
MARY WARREN: Shell kill me for sayin that! Abbyll charge lechery on you, Mr. Proctor!
PROCTOR: Shes told you!
MARY WARREN: I have known it, sir. Shell ruin you with it, I know she will.
PROCTOR: (hesitating, and with deep hatred of himself) Good. Then her saintliness is done with.
We will slide together into our pit; you will tell the court what you know.
MARY WARREN: (in terror) I cannot, theyll turn on me
NARRATOR: Proctor strides and catches her, and she is repeating, I cannot, I cannot!
PROCTOR: My wife will never die for me! I will bring your guts into your mouth but that goodness
will not die for me!
MARY WARREN: I cannot do it, I cannot!
PROCTOR: (grasping her by the throat as though he would strangle her) Make your peace with it!
Now Hell and Heaven grapple on our backs, and all our old pretense is ripped away
make your peace! Peace. It is a providence, and no great change; we are only what we
always were, but naked now. Aye, naked! And the wind, Gods icy wind, will blow!
MARY WARREN: she is over and over again sobbing) I cannot, I cannot, I cannot
Appendix #31f
Vocabulary in Context List
pious (p. 61)

Sabbath (p. 61)
theology (p. 62)
trifle (p. 63)
flailing (p. 64)
misgivings (p. 64)
evasive (p. 64)
daft (p. 65)
tainted (p. 67)
subtle (p. 68)
quail (p. 68)
lief (p. 68)
signify (p. 70)
calamity (p. 70)
familiar (spirit) (p. 71)
avid (p. 71)
broken (minister) (p. 73)
vengeance (p. 73)
Pontius Pilate (p. 73)
blasphemy (p. 75)
menacingly (p. 75)
grapple (p. 76)
providence (p. 76)
Appendix #32
Focus Question #11
Why is John Proctor hesitant to testify in court about Abigails lies?
Answer Plan
1. Introduce the answer by restating and beginning to answer the question.

2. Write several reasons why Proctor is hesitant to testify in court.
3. Conclude with a sentence or two predicting whether or not you think Proctors
testimony would be believed should he testify in court.
Possible Answer
[1] John Proctor fears the repercussions of his testimony that the girls are not really afflicted by
witchcraft. [2] Proctor wonders if what Abigail told him in private would be believed in a worldgone
daft with nonsense about witchcraft, especially considering Abigails recent rise to saint status in the
village. Proctor also fears that Elizabeth may be right, that Abigail wants Elizabeth dead so that she can
have Proctor to herself. If Proctor tells the truth then, he risks dashing Abigails dream of being with
him and risks her vengeance, of which he is now sure she is capable considering the lies she has told
thus far; he now realizes the very real possibility that Abigail may cry out Elizabeth for a witch. Proctor
also realizes that he risks the affair being revealed, which would be his ruinhe would, at best, be
shunned by the community and excommunicated from the church. It is also possible, though unlikely,
that Proctor still has feelings for Abigail and doesnt want to see her hurt. [3] Considering the hysteria
afloat in Salem, and taking into account Abigails strong feelings for Proctor along with her cunning,
unscrupulousness, and newfound power, it is unlikely that Proctor would be believed. It is unlikely that
Abigail would let such an affront pass unpunished. It is also unlikely that at this point, with dozens of
women imprisoned for witchcraft based on Abigail and the girls testimony, that the court would show a
readiness to believe Proctor and risk the utter embarrassment that such testimony would surely bring
about.
Appendix #33
Writing an Original Scene: Dialogue and Stage Directions
We learn about characters in dramas through what they say and how they say it.
What characters say is revealed through dialogue, which is written conversation among characters.
How characters say it is revealed through stage directions, which describe characters tone of voice (i.e.
Abigail: with an indignant edge) and movement (i.e. He covers his face, ashamed).
If dialogue and stage directions are used effectively, characters should sound natural (for the time period) and
appear three-dimensional and fleshed out rather than flat.
Keeping in mind the character attributes of Abigail and Elizabeth that you have recorded on your character
bookmarks, as well as their individual motivations, write a scene depicting Elizabeths firing of Abigail.
You may continue Millers use of Puritan English, or you may use modern day English.
Be sure to add stage directions to enhance the dialogue.
Example:
ELIZABETH, with brimming hostility: It is over, Abigail. I know everything. John confirmed it.
ABIGAIL, feigning confusion: Why, I know nothing
ELIZABETH, wildly: Shut it!Regaining her composureYou will leave this house within the hour.
Appendix #34
Focus Question #12
Why does Francis Nurse fear he has brought trouble to the 91 people who
signed their names to the document presented in court?
Answer Plan
2. Based on previous events of the play, write several sentences that predict possible
consequences that may come to these people.
3. Conclude with a personal observation of the way that witnesses have been
handled so far in the play.
Possible Answer
[1] Francis Nurse is distraught after Judge Danforth orders arrest warrants be drawn for all 91 people on
his list because he fears for the way these people will be treated. [2] Giles, John and Francis have spent
three days attempting to be heard by the courts. They have presented documents and evidence in an
attempt to clear their wives; each attempt has been seen as an attack upon the court. Based on Danforths
statement that a person is either with the court or against it, one might predict that the 91 people whose
names appear on that list will be treated as enemies of the court. They face possible jail time and the
possibility of being accused of witchcraft. [3] The witnesses have been treated unfairly because Judge
Danforth and the other members of the court did not even want to hear from them. Giles must force his
way into the court to be heard and the evidence he provides is quickly dismissed because it goes against
what the court has ruled previously.
Appendix 35
Focus Question #13
Discuss Marys inability to faint on demand for the members of the court.
Answer Plan
1. Introduce your answer by predicting why you think Mary could not faint.
2. Write a number of sentences to support your prediction.
3. Conclude by predicting the possible consequences of her inability to prove she was
simply pretending.
Possible Answer
[1] (Answers will vary.) It is possible that when the other girls were pretending and the
members of the court were looking on encouragingly, Mary was able to feed off the mood
in the room and go along with the other girls by pretending to faint. [2] Many spectators
came to the courts to witness the proceedings; this highly religious society believed in
witches and their ability to send their spirits. In the courtroom, there would have been
support for Mary and the other girls when they were pretending. In this situation, Mary is
on the defensive; she has lost her willing audience and the other participants for her
pretending. [3] Because Mary is unable to faint, it is possible that the judge will conclude
that she is lying now and the she is possibly under the influence of Satan.
Appendix #36
Focus Question #14
Why did John Proctor disclose his affair with Abigail?
Answer Plan
2. Write a number of sentences that detail what John hoped to achieve by disclosing the
affair.
3. Conclude by giving your opinion of his decision.
Possible Answer
[1] John Proctor choose to disclose his affair with Abigail as a last resort. [2] The
evidence that Giles Corey, Francis Nurse, and Mary Warren had presented did not sway
Judge Danforth into believing that the girls were lying. John felt he had to destroy
Abigails credibility in order for Judge Danforth to see her as a liar and to give cause as to
why she would want to see his wife dead. [3] Because Danforth had discredited the other
testimony, and because he had already accused John Proctor of planning to overthrow the
court, John made a bad decision in choosing to disclose his affair.
Appendix #37
The Crucible Newspaper Assignment
Choose a newsworthy event from The Crucible in which a character uses his or her individual
power to make change. Write about this event as a newspaper journalist.
Journalists use an inverted pyramid style of writing. They generally start with the main
conclusion and get progressively more detailed, like so:
1. Conclusion
2. Supporting facts and information to support the conclusion
3. Background information and technical details
The inverted pyramid satisfies readers interest rationally. Articles written in the inverted
pyramid form have unique features. The most important information is at the top of the article;
therefore, the reader gets the main facts early, and can decide whether or not he/she wants to
continue reading. Information is generally organized into short paragraphs with the most
important facts/details appearing at the beginning of the article. A news paper article answers
the questions: Who, what, Where, When, Why, and How.
What to Do
o Write a newspaper article

o Your article must describe a unique event from the play in which a character acts as an
individual to create change.
o Facts included in your article must come from the plot of the play
o Each article must be at least three paragraphs
o Each article must follow the inverted pyramid design
Grading
o Up to 10 points will be earned if the first paragraph answers all of the 5 ws and h.
o Up to 10 points will be earned if each article is composed of at least three paragraphs.
o Up to 10 points will be earned for the inclusion of at least 3 relevant details.
o Up to 10 points will be earned for the correctness of the facts.
o Up to 10 points will be earned for organization and neatness.
o Up to 10 points will be earned for Grammar, Usage and Mechanics.
Appendix #38
Readers Theater #2 Act Four
NARRATOR: ________________________
HALE: ________________________
DANFORTH: ________________________
PARRIS: ________________________
HERRICK: ________________________
ELIZABETH: ________________________
NARRATOR: Hale enters the courtroom to reveal that he cannot get Proctor and Nurse
to confess. Physically and emotionally exhausted, he has come to beg
Danforth to reconsider his decision to hang them today.
DANFORTH: Accept my congratulations, Reverend Hale; we are gladdened to see you

returned to your good work.
HALE: You must pardon them. They will not budge.
DANFORTH: (conciliatory) You misunderstand sir; I cannot pardon these when twelve are
already hanged for the same crime. It is not just.
PARRIS: Rebecca will not confess?
HALE: The sun will rise in a few minutes. Excellency, I must have more time.
Appendix #39
DANFORTH: Now hear me, and beguile yourselves no more. I will not receive a single
plea for pardon or postponement. Them that will not confess will hang.
Twelve are already executed; the names of these seven are given out, and
the village expects to see them die this morning. Postponement now
speaks a floundering on my part; reprieve or pardon must cast doubt upon
the guild to them that died till now. While I speak Gods law I will not crack
its voice with whimpering. If retaliation is your fear, know this--I should
hang ten thousand that dared to rise against the law, and an ocean of salt
tears could not melt the resolution of the statutes. Now draw yourselves up
like men and help me, as you are bound by Heaven to do. Have you spoken
with them all, Mr. Hale?
HALE: All but Proctor. He is in the dungeon.
DANFORTH: Whats Proctors way now?
HERRICK: He sits like some great bird; youd not know he lived except he will take
food from time to time.
DANFORTH: His wife--his wife must be well on with child now.
HERRICK: She is, sir.
DANFORTH: What think you, Mr. Parris? You have closer knowledge of this man; might
her presence soften him?
PARRIS: It is possible, sir. He have not laid eyes on her these three months. I should
summon her.
DANFORTH: Mr. Herrick, is Proctor yet adamant? Has he struck at you again?
HERRICK: He cannot, sir, he is chained to the wall now.

Appendix #39a
DANFORTH: Fetch Goody Proctor to me. Then let you bring him up.
HERRICK: Aye, sir.
HALE: Excellency, if you postpone a week and publish to the town that you are
striving for their confessions, that speak mercy on your part, not faltering.
DANFORTH: Mr. Hale, as God have not empowered me like Joshua to stop this sun from
rising, so I cannot withhold from them the perfection of their punishment.
HALE: (Harder now) If you think God wills you to raise rebellion, Mr. Danforth, you
are mistaken!
DANFORTH: You have heard rebellion spoken in town?
HALE: Excellency, there are orphans wandering from house to house; abandoned
cattle bellow on the highroads, the stink of rotting crops hangs everywhere,
and no man knows when the harlots cry will end his lifeand you wonder
yet if rebellions spoke? Better you should marvel how they do not burn
your province!
DANFORTH: Mr. Hale, have you preached in Andover this month?
HALE: Thank God they have no need of me in Andover.
DANFORTH: You baffle me, sir. Why have you returned here?
HALE: (Sarcastically) Why, it is all simple. I come to do the Devils work. I come to
counsel Christians they should belie themselves. (Here his sarcasm
collapses) There is blood on my head! Can you not see the blood on my
head?
PARRIS: Hush!
Appendix #39b
NARRATOR: When Herrick returns to the courtroom with Elizabeth, she enters with her
wrists linked by heavy chain, which Herrick now removes. Her clothes are
dirty; her face is pale and gaunt. Herrick leaves the room and Danforth
addresses her.
DANFORTH: (Very politely) Goody Proctor. I hope you are hearty.
ELIZABETH: (As a warning reminder) I am yet six months before my time.
DANFORTH: Pray be at your ease, we come not for your life. We(Uncertain how to
plead because he is unaccustomed to it ) Mr. Hale will you speak with the
woman?
HALE: Goody Proctor, your husband is marked to hang this morning.
ELIZABETH: I have heard it.
HALE: You know, do you not, that I have no connection with the court? I come of
my own, Good Proctor. I would save your husbands life for if he is taken I
count myself his murderer. Do you understand me?
ELIZABETH: What do you want of me?
HALE: Goody Proctor, I have gone this three month like our Lord into the
wilderness. I have sought a Christian way, for damnations doubled on a
minister who counsels men to lie.
HATHORNE: It is no lie, you cannot speak of lies.
HALE: It is a lie! They are innocent!
DANFORTH: Ill hear no more of that!
Appendix #39c
HALE: Let you mistake your duty as I mistook my own. I came into this village like
a bridegroom to his beloved, bearing gifts of high religion; the very crowns
of holy law I brought, and what I touched with my bright confidence, it died;
and where I turned the eye of my great faith, blood flowed up. Beware,
Goody Proctor--cleave to no faith when faith brings blood. It is mistaken law
that leads you to sacrifice. Life woman, life is Gods most precious gift; no
principle, however glorious, may justify the taking of it. I beg you, woman,
prevail upon your husband to confess. Let him give his lie. Quail not before
Gods judgment in this, for it may well be God damns a liar less than he
that throws his life away for pride. Will you plead with him? I cannot think
he will listen to another.
ELIZABETH: (quietly) I think that be the Devils argument.
HALE: (desperately) Woman, before the laws of God we are as swine! We cannot
read His will!
ELIZABETH: I cannot dispute with you, sir; I lack learning for it.
DANFORTH: Goody Proctor, you are not summoned here for disputation. Be there no
wifely tenderness within you? He will die with the sunrise. Your husband. Do
you understand it? Are you stone? I tell you true, woman, had I no other
proof of your unnatural life, your dry eyes now would be sufficient evidence
that you delivered up your soul to Hell. A very ape would weep at such
calamity! Have the devil dried up any tear of pity in you? Take her out. It
profit nothing she should speak to him.
ELIZABETH: (quietly) Let me speak with him, Excellency.
PARRIS: (hopefully) Youll strive with him?
DANFORTH: Will you plead for his confession or will you not?
ELIZABETH: I promise nothing. Let me speak with him.

Appendix #39d
Focus Question #15
Hawthorne indicates that Parris is overreacting to the scheduled hanging of
Rebecca and Proctor because at every execution [he has] seen naught but
high satisfaction in the town. What would happen to a townsperson who
protested the hangings or appeared dissatisfied in any way with the courts
proceedings and decisions?
Answer Plan
2. Write several sentences in which you provide examples of the result of
challenging the authorities. As often as possible, use the text to support your
claim.
3. Conclude by predicting what you think will happen.
Possible Answer
[1] People in Salem are well aware of the consequences of displaying any
dissatisfaction with the court. [2] From the beginning it was clear that citizens
should do as they were told. In Act One, Parris told Tituba to confess or he would
take her out and whip her to death. In Act Three, Danforth has left no room for
contention by saying a person is either with this court or he must be counted
against it, there be no road between. In response, Hale wonders whether every
defense is an attack upon the court. Danforth also orders Francis Nurses
petitioners summoned for questioning. [3] In such a threatening atmosphere it is
unlikely that anyone left in Salem will publicly express an opinion contrary to
Danforths.
Appendix #40
Readers Theater #3 Act Four
NARRATOR: ________________________
DANFORTH: ________________________
REBECCA: ________________________
PROCTOR: ________________________
HALE: ________________________
PARRIS: ________________________
HERRICK: ________________________
ELIZABETH: ________________________
DANFORTH: Courage, man, courage--let her witness your good example that she may
come to God herself. Now hear it, Goody Nurse! Say on, Mr. Proctor. Did you
bind yourself to the Devils service?
REBECCA: (astonished) Why, John!
PROCTOR: (Through gritted teeth) I did.
DANFORTH: Now, woman, you surely see it profit nothing to keep this conspiracy any
further. Will you confess yourself with him?
REBECCA: Oh, John--God send his mercy on you!
DANFORTH: I say, will you confess yourself, Goody Nurse?
REBECCA: Why, it is a lie, it is a lie; how my I damn myself? I cannot, I cannot.
NARRATOR: When Danforth cannot elicit a confession from Rebecca, he pressures

Proctor to incriminate any of the others scheduled to hang today.
Appendix #41
DANFORTH: Mr. Proctor. When the Devil came to you did you see Rebecca Nurse in his
company? Come, man, take courage--did you ever see her with the Devil?
PROCTOR: (almost inaudibly) No.
DANFORTH: Did you ever see her sister, Mary Easty, with the Devil?
PROCTOR: No, I did not.
DANFORTH: Did you ever see Martha Corey with the Devil?
PROCTOR: I did not.
DANFORTH: Did you ever see anyone with the Devil?
PROCTOR: I did not.
DANFORTH: Proctor, you mistake me, I am not empowered to trade your life for a lie.
You have most certainly seen some person with the Devil. Mr. Proctor, a
score of people have already testified they saw this woman with the Devil.
PROCTOR: Then it is proved. Why must I say it?
DANFORTH: Why must you say it! Why, you should rejoice to say it if your soul is truly
purged of any love for Hell!
PROCTOR: They think to go like saints. I like not to spoil their names.
DANFORTH: (Inquiring, incredulous) Mr. Proctor, do you think they go like saints?
Appendix #41a
PROCTOR: (Evading) This woman never thought she done the Devils work.
DANFORTH: Look you, sir. I think you mistake your duty here. It matters nothing what
she thought--she is convicted of the unnatural murder of children, and you
for sending your spirit out upon Mary Warren. Your soul alone is the issue
here, Mister, and you will prove its whiteness or you cannot live in a
Christian country. Will you tell me now what persons conspired with you in
the Devils company? To your knowledge was Rebecca Nurse ever--
PROCTOR: I speak my own sins; I cannot judge another. (Crying out with hatred) I
have no tongue for it.
NARRATOR: Proctor has given his confession and refused to incriminate Rebecca Nurse
or her sister, Mary Easty--the other to pillars of respectability scheduled to
hang with Proctor. Now, Danforth requests he sign the confession.
HALE: Excellency, it is enough he confess himself. Let him sign it, let him sign it.
PARRIS: (feverishly) It is a great service, sir. It is a weighty name; it will strike the
village that Proctor confess. I beg you, let him sign it. The sun is up,
Excellency.
DANFORTH: (with dissatisfaction) Come, then, sign you testimony. Give it to him, Mr.
Cheever. Come, man, sign it.
PROCTOR: You have all witnessed it--it is enough.
DANFORTH: You will not sign it?
PROCTOR: You have all witnessed it; what more is needed?

DANFORTH: Do you sport with me? You will sign your name or it is no confession, Mister!
Appendix #41b
PARRIS: Praise be to the Lord!
NARRATOR: His chest heaving with agonized breathing, Proctor signs the confession. As
Danforth reaches for it, Proctor snatches it away. A wild terror and
boundless anger rise in him. Danforth is perplexed by Proctors
unwillingness to turn over the signed confession.
DANFORTH: If you please, sir.
PROCTOR: No,
DANFORTH: Mr. Proctor I must have--
PROCTOR: No, no. I have signed it. You have seen me. It is done! You have no need for
this.
PARRIS: Proctor, the village must have proof that--
PROCTOR: Damn the village! I confess to God, and God has seen my name on this! It
is enough!
DANFORTH: No, sir, it is--
PROCTOR: You came to save my soul, did you not? Here! I have confessed myself; it is
enough!
DANFORTH: You have not con--
PROCTOR: I have confessed myself! Is there no good penitence but it be public? God
does not need my name nailed upon the church! God sees my name; God
knows how black my sins are! It is enough!
DANFORTH: Mr. Proctor--
Appendix #41c
PROCTOR: You will not use me! I am not Sarah Good or Tituba, I am John Proctor! You
will not use me! It is no part of salvation that you should use me!
DANFORTH: I do not wish to--
PROCTOR: I have three children--How may I teach them to walk like men in the world,
and I sold my friends?
DANFORTH: You have not sold your friends--
PROCTOR: Beguile me not! I blacken all of them when this is nailed to the church the
very day they hang for silence.
DANFORTH: Mr. Proctor, I must have good and legal proof that you
PROCTOR: You are the high court, your word is good enough! Tell them I confessed
myself; say Proctor broke his knees and wept like a woman; say what you
will, but my name cannot--
DANFORTH: (suspiciously) It is the same, is it not? If I report it or you sign to it?
PROCTOR: No it is not the same! What others say and what I sign to is not the same!
DANFORTH: Why? Do you mean to deny this confession when you are free?
PROCTOR: I mean to deny nothing!
DANFORTH: Then explain to me, Mr. Proctor, why you will not let--
NARRATOR: Backed into a corner, Proctor cries out with his whole soul.
Appendix #41d
PROCTOR: (crying out) Because it is my name! Because I cannot have another in my

life! Because I lie and sign myself to lies! Because I am not worth the dust
on the feet of them that Hang! How may I live without my name? I have
given you my soul; leave me my name!
DANFORTH: Is that document a lie? If it is a lie I will not accept it! What say you? I will
not deal in lies. Mister! You will give me your honest confession in my hand,
or I cannot keep you from the rope. Which way do you go, Mister?
NARRATOR: His breast heaving, his eyes staring, Proctor tears the paper and crumples
it, and he is weeping in fury, but erect.
DANFORTH: Marshal!
PARRIS: (Hysterically) Proctor, Proctor!
HALE: Man, you will hang! You cannot!
PROCTOR: I can. And theres your first marvel, that I can. You have made your magic
now, for now I do think I see some shred of goodness in John Proctor. Not
enough to weave a banner with, but white enough to keep it from such
dogs.
NARRATOR: Elizabeth is overcome with emotion. She rushes to him in a burst of terror
and weeps against his hand. He lifts her and kisses her passionately.
PROCTOR: Give them no tear! Tears pleasure them! Show honor, now, show a stony
heart and sink them with it!
REBECCA: Let you fear nothing! Another judgment waits us all!
DANFORTH: Hang the high over the town! Who weeps for these, weeps for corruption.
Appendix #41e
HERRICK: Come, man.
NARRATOR: As Proctor is lead out of the courtroom by Cheever, Elizabeth is left staring
at the empty doorway. Behind her stands Parris in deadly fear.
PARRIS: Go to him Goody Proctor! There is yet time!
NARRATOR: They are startled by a drumroll from outside. Elizabeth jerks about toward
the window. In one last effort to prevent his fate Parris rushes to the door.
PARRIS: Go to him! Proctor! Proctor!
NARRATOR: Hale rushes to the door as Elizabeth goes to the window. From behind her
Hale beseeches her to stop the hanging.
HALE: Woman plead with him! Woman! It is pride, it is vanity. Be his helper-- What
profit him to bleed? Shall the dust praise him? Shall the worms declare his
truth? Go to him, take his shame away!
NARRATOR: As the drums reach a crescendo, Elizabeth collapses against the window
and uses the bars to support herself. She cries out.
ELIZABETH: (with a cry) He have his goodness now. God forbid I take if from him!
NARRATOR: Hale weeps in frantic prayer, the new sun pours in upon Elizabeths face,
and the drums rattle like bones in the morning air.
Appendix #41f
Focus Question #16
Both Parris and Hale ask Danforth to postpone the executions, but their reasons for
wanting a postponement are vastly different. What motivates each one?
Answer Plan
2. Write several sentences in which you assert Parriss reasons for wishing the executions
postponed.
3. Write a sentence or two where you reveal Hales motivation.
4. Conclude with a prediction about whether Danforth will oblige either one.
Possible Answer
[1] Parris wants Danforth to postpone the hangings of John Proctor and
Rebecca Nurse because he has a new understanding of the evidence and his
precarious predicament. [2] As long as Abigail controlled the magistrates, and
he didnt cross her, Parris knew he was safe. When he realized she wasnt the
angel she had pretended to be, he knew his enemies would use her lies to bring
him down. His request to postpone the executions has more to do with saving
his own reputation than it does with protecting the innocent. Hale, on the other
hand, wants more time to convince Proctor and maybe even Rebecca to lie to
save their lives and then atone for lying later. [3] Unfortunately, Danforth is so
full of himself that he cant believe he could make a mistake. He will never
back off. The executions will go on as planned.
Appendix #42
Appendix
Decision
Outcome:43Made: Danforth
Situation:
Situation: DECISIONS,
John Proctor
must must
decide DECISIONS,
decide
whether
Probable
Alternate
Probable
if hetowill DECISIONS
postpone
Outcome:
Outcome:
Decision:0
sign histhe
confession.
executions
Characters decisions determined the outcome of the play. For each
of Rebecca Nurse, Martha Corey and Proctor. situation below, write the
decision actually made by the character and summarize the outcome. Then suggest an alternate
decision the character could have made, andDECISIONS,
DECISIONS, summarize the probable outcome of the situation.
DECISIONS
Characters decisions have determined the outcome of the play. For each situation below, write the
decision actually made by the character and summarize the outcome. Then suggest an alternate
decision the character could have made, and summarize the probable outcome of that decision.
Situation: Danforth must decide if he should postpone the executions of Rebecca

Nurse, Martha Corey and John Proctor.
Decision Made: Alternate Decision:
Outcome: Probable Outcome:
Situation: John Proctor must decide if he will sign his confession.
Decision Made: Alternate Decision:
Outcome: Probable Outcome:
Appendix #43
Appendix #43
Focus Question #17
Is The Crucible still relevant?
Answer Plan
1. Introduce the answer by restating the Question.
2. Write several sentences giving details prove the plays relevance to today.
3. Conclude by comparing the events in the play to a twentieth, or twenty-first century
crucible.
Possible Answer
[1] The Crucible is still relevant today because of continuing religious and racial
persecution around the world. [2] One need only glance at newspaper headlines
screaming about Middle East massacres such as those in Israel and Lebanon to
understand the relevance of this play. In Rwanda the massacre of the Tutsis at the hands
of their Hutu countrymen is an indication that power, if unchecked, can result in chaos.
Similarly, the ethnic cleansing which Serbian forces attempted during the civil unrest in
Yugoslavia is further evidence. Culture clashes of all kinds exist in the world. [3]
Witness the racial profiling of blacks in Metro Detroit communities and even the
wariness of middle aged citizens when they encounter Emotional Hardcore or Skater
kids; and it is clear that the events Miller highlighted in his play could be or have been
reenacted in a variety of settings around the world.
Appendix #44
BIOPOEM
Select at least one character from the Major Character List and use your Character Bookmarks to assist in creating a
Biopoem. You must follow the format given. Type and illustrate your poem. Be prepared to present and post it in class
tomorrow.
Format Line 9: Who would

like (three items)
Line 1: First
Name Line 10: Resident of
Line 2: Four Line 11 Last name

traits that describe character
Example
Line 3:
Anne
Relative of (brother, sister, daughter,
etc) Wife of Thomas Putnam
Secretive, Forlorn, Mistrustful, Covenanted

Line 4: Lover
of (list three things or people) Lover of God, lost children, and Ruth
Who feels cheated, threatened and lied to

Line5: Who feels (list three items)
Who needs answers, support, and healthy children
Line 6: Who Who fears discovery, the Nurse Clan, and God
needs (three items)
Who gives shelter, support, and permission to conjure,
Line 7: Who Who would like surviving offspring, the protection of Parris and to
be rid of Rebecca
fears (three items)
Resident of Salem
Line 8: Who
Putnam
gives (three items)
Appendix #45
My Beloved Appendix # 46a
Boys
Imagine you are John
Proctor and you are given
the opportunity to draft a
letter to your children
before the magistrates call
you to the gibbet. This is
your opportunity to help
your children understand
the events that lead to your
death.
Your letter must EXPLAIN

but is not limited to:
what happened in the
town of Salem in 1692
from your point of view.
how you and your family
were involved in the
events.
why you chose to die
rather than to live.
For the purposes of this

assignment, assume that
none of your children will be
given the letter until he
reaches age 10.
You must be faithful to
the events in the story, but
sensitive to the tender age
of your children.
August 19, John
1692
Proctor
Your Loving
Father,
Ive been meaning to write for
some time to explain
For the purpose of summary and retelling you may want to include other
letter writing options. In each case, stress the importance of audience and
the use of individual power.
Options include, but are not limited to:
A letter from Hale to his

wife in Beverly detailing
his efforts to stop the
madness.
A letter from Mary Warren
to Elizabeth Proctor
explaining how her initial
resolve crumbled in the face
of the girls taunts.
A letter from Danforth to
his superior illuminating his
decision not to postpone the
executions.
A letter from Abigail to a
friend in Boston in whom
she confides everything.
Appendix 46b
Timeline Activity
(This should be done based on the play, not the movie.)
Now that you have read Arthur Millers The Crucible, your task is to choose the 20 (no
more, no fewer) most significant events of the play. The events must cover the play in its
entirety. After choosing your events, use a poster board to neatly and creatively record (in
chronological order) your events. Include illustrations or pictures for at least half (10) of
the events.
Hints:
First, go through the play from start to finish, making a preliminary list of events you deem
important. (You should end up with more than 20.) Next, go through your list looking for
opportunities to eliminate, combine, or change events. Continue this process until you have
your list narrowed down to 20 events.
Look for a common concept for your timeline, such as: character development, action,
displays of power.
Be sure that your illustrations and pictures convey an appropriate mood for your poster.
Remember, neatness counts.
Appendix 47
Short Compare and Contrast Essay
o Explain that there are two ways to write the essay but don't go into any detail
on that yet.
o Explain that when comparing, students should mention differences but focus
on similarities. Conversely, when contrasting they should mention similarities
but focus on differences.
o List and model use of cue words
Similarities Differences (contrast):
(compare): on the other hand
too but
as well however
both unlike
also while
so too in contrast
is similar to although
besides yet
in addition
Comparing Two Subjects in Two Paragraphs
I. Block Format II. Separating Similarities & Differences
Paragraph 1: Opening paragraph gives background Paragraph 1: Opening paragraph names the two
information on the two subjects and includes a subjects provides some background and includes a
sentence which states that they are very similar, very sentence which states that they are very similar, very
different or have many important (or interesting) different or have many important (or interesting)
similarities and differences. similarities and differences.
Paragraph 2: Describes features of the first subject Paragraph 2: Discusses similarities only using
without referring to the second subject. compare cue words such as like, similar to, and also
for each comparison.
Paragraph 3: Opening sentence must contain a
transition showing you are comparing the second Paragraph 3: Opens with a sentence which must
subject to the first. (e.g. "Unlike (or similar to) contain a transition showing you are switching to
[subject #1], [ subject #2]...) Discuss all the features differences. (e.g. Despite all these similarities, [these
of subject #2 in relation to subject #1 using two subjects] differ in significant ways.) Then
compare/contrast cue words such as like, similar to, describes all the differences, using contrast cue words
also, unlike, on the other hand for each comparison. such as differs, unlike, and on the other hand for each
comparison.
Conclude: End with a personal statement, an
observation, a prediction, or another snappy clincher. Conclusion: End with a personal statement, a
prediction, or another snappy clincher.
Information for this guide was gleaned from About.
2006 About, Inc., A part of The New York Times Company. All rights reserved.
http://712educators.about.com/cs/writingessays/a/comparecontrast.htm
Appendix #48
Compare and Contrast Prewriting
CONTRAST MILLERS COMPARE COMMONALITIES CONTRAST PROCTORS

REACTION TO BLACK LISTING BETWEEN THE TWO REACTION TO THE WITCH TRIALS
Name__________________________ Date ______________________________
Hour_______
6+1 Trait Rubric

Compare/Contrast Millers Reaction to the Red
Scare
4-Above 3-Meets 2-Approacing 1-Below Scor
CATEGORY Standards Standards Standards Standards e
Introduction The introduction is The introduction clearly The introduction There is no clear
(Organization) inviting, states the states the main topic and states the main topic, introduction of the main
main topic and previews the structure of but does not topic or structure of the
previews the the paper, but is not adequately preview paper.
structure of the particularly inviting to the the structure of the
paper. reader. paper nor is it
particularly inviting to
the reader.
Sequencing Details are placed in Details are placed in a Some details are not Many details are not in
(Organization) a logical order and logical order, but the way in in a logical or a logical or expected
the way they are which they are expected order, and order. There is little
presented effectively presented/introduced this distracts the sense that the writing is
keeps the interest of sometimes makes the reader. organized.
the reader. writing less interesting.
Transitions A variety of thoughtful Transitions clearly show Some transitions The transitions
(Organization) transitions are used. how ideas are connected, work well; but between ideas are
They clearly show but there is little variety. connections between unclear or nonexistent.
how ideas are other ideas are fuzzy.
connected.
Conclusion The conclusion is The conclusion is The conclusion is There is no clear
(Organization) strong and leaves recognizable and ties up recognizable, but conclusion, the paper
readers with a feeling almost all the loose ends. does not tie up just ends.
that they understand several loose ends.
what the writer is
"getting at."
Transitions A variety of thoughtful Transitions clearly show Some transitions The transitions
(Organization) transitions are used. how ideas are connected, work well; but between ideas are
They clearly show but there is little variety. connections between unclear or nonexistent.
how ideas are other ideas are fuzzy.
connected.
Support for Relevant, telling, Supporting details and Supporting details Supporting details and
Topic (Content) quality details give information are relevant, and information are information are
the reader important but one key issue or relevant, but several typically unclear or not
information that goes portion of the storyline is key issues or related to the topic.
beyond the obvious unsupported. portions of the
or predictable. storyline are
unsupported.
Appendix #50a
4-Above 3-Meets 2-Approacing 1-Below Score
CATEGORY Standards Standards Standards Standards
Commitment The writer The writer successfully The writer attempts to The writer made no
(Voice) successfully uses uses one or two make the reader care attempt to make the
several reasons/appeals to try to about the topic, but is reader care about the
reasons/appeals to show why the reader not really successful. topic.
try to show why the should care or want to
reader should care or know more about the topic.
want to know more
about the topic.
Word Choice Writer uses vivid Writer uses vivid words Writer uses words that Writer uses a limited
words and phrases and phrases that linger or communicate clearly, vocabulary that does
that linger or draw draw pictures in the but the writing lacks not communicate
pictures in the reader's mind, but variety, punch or flair. strongly or capture the
reader's mind, and occasionally the words are reader's interest.
the choice and used inaccurately or seem Jargon or clichs may
placement of the overdone. be present and detract
words seems from the meaning.
accurate, natural and
not forced.
Flow & Rhythm All sentences sound Almost all sentences Most sentences sound The sentences are
(Sentence natural and are easy- sound natural and are natural and are easy- difficult to read aloud
Fluency) on-the-ear when read easy-on-the-ear when read on-the-ear when read because they sound
aloud. Each aloud, but 1 or 2 are stiff aloud, but several are awkward, are
sentence is clear and and awkward or difficult to stiff and awkward or distractingly repetitive,
has an obvious understand. are difficult to or difficult to
emphasis. understand. understand.
Sentence All sentences are Most sentences are well- Most sentences are Sentences lack
Structure well-constructed with constructed with varied well-constructed but structure and appear
(Sentence varied structure. structure. have a similar incomplete or
Fluency) structure. rambling.
Capitalization & Writer makes no Writer makes 1 or 2 errors Writer makes a few Writer makes several
Punctuation errors in in capitalization or errors in capitalization errors in capitalization
(Conventions) capitalization or punctuation, but the paper and/or punctuation and/or punctuation
punctuation, so the is still easy to read. that catch the reader's that catch the reader's
paper is attention and interrupt attention and greatly
exceptionally easy to the flow. interrupt the flow.
read.
Created with http://rubistar.4teachers.org then reformatted.
Appendix #50b
Compare and Contrast Essay
Peer Review
Author:____________________________________
Date:_______________________________
Critic:_____________________________________ Hour:______________________________
CATEGORY 4-Above 3-Meets 2-Approacing 1-Below Standards Score

Standards Standards Standards
Flow & All sentences sound Almost all sentences Most sentences The sentences are
Rhythm natural and are easy- sound natural and sound natural and difficult to read aloud
(Sentence on-the-ear when read are easy-on-the-ear are easy-on-the-ear because they sound
Fluency) aloud. Each sentence when read aloud, but when read aloud, but awkward, are
is clear and has an 1 or 2 are stiff and several are stiff and distractingly
obvious emphasis. awkward or difficult to awkward or are repetitive, or difficult
understand. difficult to to understand.
understand.
Support for Relevant, telling, Supporting details Supporting details Supporting details
Topic quality details give the and information are and information are and information are
(Content) reader important relevant, but one key relevant, but several typically unclear or
information that goes issue or portion of the key issues or not related to the
beyond the obvious or storyline is portions of the topic.
predictable. unsupported. storyline are
unsupported.
Transitions A variety of thoughtful Transitions clearly Some transitions The transitions
(Organization) transitions are used. show how ideas are work well; but between ideas are
They clearly show how connected, but there connections between unclear or
ideas are connected. is little variety. other ideas are fuzzy. nonexistent.
Support for Relevant, telling, Supporting details Supporting details Supporting details
Topic quality details give the and information are and information are and information are
(Content) reader important relevant, but one key relevant, but several typically unclear or
information that goes issue or portion of the key issues or not related to the
beyond the obvious or storyline is portions of the topic.
predictable. unsupported. storyline are
unsupported.
Pattern selected: (Circle one and describe) Pattern I Pattern II
Identify one point you wish you had made or made more clearly in your paper.
Appendix #51
Comparison Chart
Concept/Element Play Movie
Example: the girls happens before the play starts part of the storyline
misbehaving in the seems like Tituba and the girls it seems they have gathered for
woods. were trying to cast spells the girls cast spells for certain
Abigail drank blood boys to like them
Bettys illness is not explained
we see Betty paralyzed by fear
when Parris catches them
Appendix #52
Appendix #53 Take a Stand
Paper Assignment and Timeline
Both John Proctor and Arthur Miller risked their lives

when they took a stand against abusive authorities.
For both men, the risk paid off. Miller managed to
spark an uprising against Senator Joseph McCarthys
hearings; and Proctors death led Salem villagers to
stand up against the courts. In time, the governor
ordered that reliance on intangible evidence no longer be allowed in
trials.
For every generation in every country, every day there are issues upon
which an individual could take a stand. This assignment asks you to
think about what concerns you in your community, your state, your
country or the world. Choose an issue about which you feel strongly
and take a stand for or against it.
You will write your persuasive essay over the course

of the next five days, primarily at home while we
watch The Crucible in class.
Days 1-3 Choose an issue and take a stand.

Develop your thesis.
Research your topicremember a persuasive essay
must provide specific and convincing evidence.
Structure your essay. What evidence will you include
and in what
order? Remember to keep audience, purpose
and topic in
mind.
Test your thesis. If you can write one that directly
opposes yours, you can ensure that your thesis is
debatable.
Review rubric and draft your essay.
Appendix #53
Authentic Writing
Persuasive Essay Guidelines:
Take a Stand on a Controversial Issue
In persuasive writing, a writer takes a position for or against an issue and
writes to convince his reader to believe or do something. Advertisers use
persuasion to get consumers to purchase their product. In essays, the
same idea applies. An essay writer is trying to get the reader to accept a
point of view. In order to sway your reader, you need more than an
opinion. Often research is necessary.
As with most formal writing, persuasive writing follows a specific format. A

persuasive essay has an introduction, a body where the argument is
developed and a conclusion. After writing your essay, read, revise and
confer with others to be sure your point is clear and your writing is
polished.
Before you start, check the rubric to better understand how you will be
graded.
Introduction
Your introduction should have a hook to catch the readers
attention. You might consider
o Opening with a strong statement (By 2050, deaths due to cancer will
be eliminated.)
o Opening with a statistic (Americans and Canadians comprise only 5%
of the world population.)
o Opening with an Anecdote (Keep it short.)
o Opening with a question. (Have you ever wondered how long it will
be before the miracle of birth is replaced by designer children?)
o Opening with an unusual detail (Scientists believe that body hair will
be eliminated through genetic mutation within the next century.)
o Opening with a quotation (Martin Luther once said, Beneath the rule of men
entirely great, the pen is mightier than the sword.)
o Opening with an outrageous statement (In view of strained political
and economic relations with Middle Eastern leaders, gasoline
powered vehicle transportation has been outlawed in the United
States.)
Your introduction must also include a thesis statement. Your
thesis must
o state the topic of your essay

o place practical limits on the chosen topic
o suggest the organization of your paper
Appendix #54a
Body
The function of the body of your paper is to provide evidence
which supports the opinion you assert in your thesis statement.
The body should
o include at least three paragraphs

o provide counterargument to anticipated opposition in one of the three
required paragraphs
o be based on solid reason
o elaborate and illustrate using statistics, research, real-life experiences
or examples
Conclusion
Finish your essay by summarizing the most important details and
restate what it is you want the reader to do or believe
o reaffirm your thesis

o paraphrase the main points so that your reader can recall them
o clearly state your call for action
Appendix #54b
Persuasive
Essay
Peer Review
Ask at least one person to read your rough draft to see if he can follow your
argument. Ask your revision critic to consider the following questions:
What is the thesis statement?
How is the thesis explained?
What are the three main points of the argument?
1.
2.
3.
How did the author back up each point?
Argument 1.
Argument 2.
Argument 3.
What is the writers solution?

Appendix #55
Take a Stand Rubric for Persuasive Essay Name
Date Hour
CATEGORY 4 - Above 3 - Meets 2 - Approaching 1 - Below Score

Standards Standards Standards Standards
Attention The introductory paragraph has a The introductory paragraph has a The author has an interesting The introductory paragraph is
Grabber strong hook or attention grabber hook or attention grabber, but it is introductory paragraph but the not interesting AND is not
that is appropriate for the weak, rambling or inappropriate for connection to the topic is not clear. relevant to the topic.
audience. This could be a strong the audience.
statement, a relevant quotation,
statistic, or question addressed to
the reader.
Position The position statement provides a The position statement provides a A position statement is present, but There is no position
Statement clear, strong statement of the clear statement of the author's does not make the author's position statement.
author's position on the topic. position on the topic. clear.
Focus or The thesis statement names the The thesis statement names the topic The thesis statement outlines some The thesis statement does not
Thesis topic of the essay and outlines the of the essay. or all of the main points to be name the topic AND does not
main points to be discussed. discussed but does not name the preview what will be discussed.
Statement topic.
Support for Includes 3 or more pieces of Includes 3 or more pieces of Includes 2 pieces of evidence (facts, Includes 1 or fewer pieces of
Position evidence (facts, statistics, evidence (facts, statistics, examples, statistics, examples, real-life evidence (facts, statistics,
examples, real-life experiences) real-life experiences) that support the experiences) that support the examples, real-life
that support the position statement. position statement. position statement. experiences).
The writer anticipates the reader's
concerns, biases or arguments and
has provided at least 1 counter-
argument.
Evidence and All of the evidence and examples Most of the evidence and examples At least one of the pieces of evidence Evidence and examples are
Examples are specific, relevant and are specific, relevant and and examples is relevant and has an NOT relevant AND/OR are not
explanations are given that show explanations are given that show explanation that shows how that explained.
how each piece of evidence how each piece of evidence supports piece of evidence supports the
supports the author's position. the author's position. author's position.
Sequencing Arguments and support are Arguments and support are provided A few of the support details or Many of the support details or
provided in a logical order that in a fairly logical order that makes it arguments are not in an expected or arguments are not in an
makes it easy and interesting to reasonably easy to follow the logical order, distracting the reader expected or logical order,
follow the author's train of thought. author's train of thought. and making the essay seem a little distracting the reader and
confusing. making the essay seem very
confusing.
Appendix #56a
CATEGORY 4 - Above 3 - Meets
Standards Standards
Transitions A variety of thoughtful transitions Transitions show how ideas are
are used. They clearly show how connected, but there is little variety
ideas are connected
Closing The conclusion is strong and The conclusion is recognizable.

paragraph leaves the reader solidly The author's position is restated
understanding the writer's within the first two sentences of the
position. Effective restatement of closing paragraph.
the position statement begins the
closing paragraph.
Sources All sources used for quotes, All sources used for quotes,
statistics and facts are credible statistics and facts are credible and
and cited correctly. most are cited correctly.
Sentence All sentences are well- Most sentences are well-

Structure constructed with varied structure. constructed and there is some
varied sentence structure in the
essay.
Grammar & Author makes no errors in Author makes 1-2 errors in

Spelling grammar or spelling that distract grammar or spelling that distract
the reader from the content. the reader from the content.
Capitalization Author makes no errors in Author makes 1-2 errors in

& Punctuation capitalization or punctuation, so capitalization or punctuation, but
the essay is exceptionally easy the essay is still easy to read.
to read.
Appendix #56b
Focus Question #18
Considering the play and the film, which portrayal of the story best
addressed the concept of the power of the individual.
Answer Plan:
2. Write several sentences stating the strengths and weaknesses of the play
with regard to addressing the power of the individual.
3. Write several sentences stating the strengths and weaknesses of the movie
with regard to addressing the power of the individual.
4. Offer a conclusive opinion stating which format did a better job of
addressing the power of the individual. Justify your opinion with concrete
support.
Possible Answer:
[1] Both the play and movie versions of The Crucible showcase the power
of the individual. [2] Through the play, the reader is able to see several
characters grapple with power and the responsibility that comes along with
it. For example, Millers portrayal of Mary Warren allows readers to follow
Marys struggle to overcome her newfound affection for attention and
power in order to tell the truth and do the right thing. We see her crumble
when faced with adversity; she ultimately fails to use her individual power
for good. Other characters who similarly fail are: Abigail (and the other girls
who testify), Parris, Hathorne, and Danforth. Hale seems poised to fail,
but preserves by admitting his faults and using his power to champion a
true course. [3] The film manages to remain true to much of Millers story,
showcasing many individual struggles with power and responsibility. We
see a tormented Mary Warren, caught between two powerful forces (Abigail
and Proctor), struggling to find her personal strength. [4] Answers will vary.
Appendix #57

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Learning Lifes Lessons through Literature - ELA High School Unit

1. Think-Write-Pair-Share [day 1] 23c. Blank Character Bookmark

ELA High School Unit10.1 Appendix Macomb Intermediate School

1. Create a question or prompt that will encourage students to use their

And a woman traveled the

To protect your home in the

To prevent poaching of the

To rescue harp seals in

Or to care for the environment

The power of one is the power to do something. Anything.

Do one of the following:

Describe something you have done individually to affect

Use the paper provided for notes, freewriting, outlining,

You should give careful thought to revision (rethinking ideas)

Review of Writing: Publishing Final Copy

CHECKLIST FOR REVISION

1. Do I have a clear central idea that connects to the topic?

CHECKLIST FOR EDITING

7. Have I checked and corrected my spelling to help readers understand my

CHECKLIST FOR PROOFREADING

9. Is everything in my final copy just the way I want it?

When first using peer revision, the Alligator in the Fishbowl

1. Ask students this question: If you had access to the most

How to do a Quick Write

2. After listening to the prompt, the student is instructed to write a

4. When it is time to share, students read their writing to a small group

The Dying Girl that No One Helped

O look outside the window

Focus Question Directions

3 (complete) 2 (partial) 1 (minimal)

Informational text gives factual information on a specific topic or event. Self-help

Title: Title: Title:

Gives information/facts. Gives information/facts. Gives infor

Keep the following information in mind when you summarize a selection:

Follow this procedure when summarizing an article:

following checklist to revise your work. Ask yourself the following

________1. Have I deleted all trivial, unnecessary information?

________2. Have I deleted redundant material?

________3. What is the authors emphasis? What is my

emphasis? Have I accurately represented the

authors content and emphasis?

________4. Have I used the authors topic sentence or created

one of my own? What is my topic sentence?

________5. Have I written the summary in my own words?

________6. Have I identified the material I have summarized?

What is the title and who is the author?

________7. Have I followed good writing practices?

ELA High School Unit10.1 Appendix Macomb Intermediate School

Summary Scoring Rubric

Use the following rubric or one of your own to evaluate

1.Has the student deleted all redundant and trivial

2.Does the paper accurately represent the authors

3.Does the paper contain a topic sentence or unified

4.Has the student accurately identified the material

5.Has the student avoided plagiarism?

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

ELA High School Unit10.1 Appendix Macomb Intermediate School

1. ________________________ Life in Massachusetts in the late 1600s.