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What’s So Funny? Teacher Module English IV Unit 2Unit 1: Students examine the concept of comedy from the classical genre to the many variations of humor (e.g. irony, satire, parody, dark humor, etc.) both in fiction and non-fiction, and in texts from multiple cultures. Evidence-based writing will focus on the techniques authors use in order to make the reader laugh.

Stage 3 – Learning Plan

Text(s): Much Ado About Nothing, Act II, Scene III

Brief Synopsis: In Act II, Scene III, Benedick’s friends Leonato and Claudio act on their plan to trick Benedick and Beatrice into falling in love with each other. Speaking loudly in their awareness that Benedick is listening, they pretend to exclaim over Beatrice’s love for Benedick. As a result of this new information, Benedick changes his entire outlook on love, something he swore he would never do.

Alignment to the Big Ideas and/or Essential Questions:1. Students evaluate the author’s choices in use of comedic elements to create

humor.2. Evidence-based writing requires students to explain how authors develop humor.

Goals (CCSS Standards) to Address: RL.12.1, RL.12.2, RL.12.3, RL.12.5, RL.12.7, W.12.9, W.12.4, W.12.5, W.12.10, L.12.4

Suggested Instructional Routines and Engagement Methods:

Shared reading Active reading strategies (e.g., turn and talk, stop and jot, targeted task) Text-dependent questions that lead to key understandings

Explicit and incidental academic vocabulary instruction Evidence-based oral and/or written responses Text-dependent tasks

Academic Vocabulary (At least 5 target words per week, selected from standards and/or text)

AbhorScornDiscretionSlanderCounterfeit

Learning Tasks and Formative Checkpoints: *See module for Grade 12, Unit 1

Culminating question for module essay:

Explain how the author’s choice to include comedic elements (dramatic irony, asides, and puns) in Much Ado About Nothing contributes to the creation of humor. Support your response with textual evidence.

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What’s So Funny? Teacher Module English IV Unit 2Academic Vocabulary

Title of Text: Much Ado About NothingTarget Words Student-friendly Definition Example(s) or Sentence(s)

Abhor To think of with hatred I abhor the idea of exercise; I will do anything to get out of going to the gym.Slander To ruin someone’s reputation with false speech Because of Mikhala’s reputation for slandering others, nobody believed her when

she tried to tell the truth.Discretion 1) The quality of careful behavior that avoids offending

someone 2) The freedom to decide what should be doneThe network advised parents to use their discretion when deciding whether or not to allow their children to watch a violent TV show.

Counterfeit To make a false copy The movie was definitely counterfeit; you could hear all kinds of background noise behind the dialogue.

Scorn Noun: the belief that someone or something is worthlessVerb: to feel or express the belief that someone or something is worthless

Due to his scorn for any kind of evaluation, Anthony did not care what kind of grade he received in the class.

Day 1 Day 2 Day 3 Day 4 Day 5

Purpose and Instructional Time Purpose and Instructional Time

Introduce target words (10-15)

OR

First, lead shared reading while clarifying target vocabulary (15-35)

Provide follow-up practice/multiple exposures to target words (10-15 mins/day)

Activities Activities Activities Activities Assessment

Students should utilize a vocabulary rating chart to rank their words. [See Appendix A]

The teacher introduces the words and their definitions and provides an illustration. [See Appendix B]

Adapted Analysis Map.

[See Appendix C]

Sentence Imitations- Replace key words in sentences containing targeted vocabulary with your own words.

[See Appendix D]

Create sentences (using subordinating conjunctions) about Much Ado About Nothing using your vocabulary words.

[See Appendix E]

For homework: Create flashcards to study

Complete last column of vocabulary rating chart [See Appendix A].

Take Vocabulary Quiz [Suggested: Create strong sentences using your vocabulary words correctly.]

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What’s So Funny? Teacher Module English IV Unit 2Instructional Guide: Much Ado About Nothing

Note: Teachers should adopt/adapt this guide to best meet the needs of specific student groups

Day 1: Summary of Activities1. Students should complete vocabulary rating chart, except for the final rating. See vocabulary plan, day 2 and Appendix A.2. The teacher introduces key vocabulary terms. See Appendix B.

3.T

he teacher introduces the culminating question.4. Students watch clip of Act II, Scene III, following along with their text and answering clarifying questions in left column on Translation Handout [in Student Version]. [Note:

Teachers should consider the needs of their students and stop the video as necessary. Some students may need to talk before they jot.]5. Teacher models text translation and students should complete translation in groups [See Teacher Version for group divisions and Student Version for translation handouts].

It may be helpful for students to use the glossary for this task. [see Appendix F for optional glossary]

Day 2: Summary of Activities1. Students practice using the target vocabulary words. See vocabulary plan, day 2 and Appendix C.2. Students complete translation handout in groups and perform their translation for the class. 3. While students perform, classmates capture the definition and impact of each comedic device in the left column of their Interpretation Handout [see Student Version]. 4. After performances, the whole class should confer to insure that students’ answers are correct. Teachers may elect to have students complete an exit ticket that

demonstrates their understanding of the day’s learning.

Day 3: Summary of Activities1. Students practice using the target vocabulary words. See vocabulary plan, day 3 and Appendix D.2. Students work in a group to reread Act II, Scene III [assigning parts for the reading] and independently write an explanation of each type of comedic device using the right

column of their Interpretation Handout [see student version].

Day 4: Summary of Activities1. Students practice using the target vocabulary words. See vocabulary plan, day 4 and Appendix E.2. Students will work independently to complete a draft, using outline provided in Appendix H.3. Students who are ready should peer edit their essay drafts, perhaps using the resource provided in Appendix I.

Day 5: Summary of Activities1. Students complete vocabulary rating chart [see Appendix A] and take assessment on target vocabulary words. See vocabulary plan, day 5.3

What’s So Funny? Teacher Module English IV Unit 22. Students should revise, peer edit, and publish and turn in final essays on the culminating question that use evidence from the text and are graded using a rubric. A sample

student response is provided in Appendix J.

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What’s So Funny? Teacher Module English IV Unit 1

Close Reading Guide

Text under Discussion (Teacher version) Reading modes, tasks, and questions

Culminating Question: Explain how the author’s choice to include comedic elements (dramatic irony, asides, and puns) in Much Ado About Nothing contributes to the creation of humor. Support your response with textual evidence.

1. Enter BENEDICK

BENEDICK Boy!

Enter Boy

Boy Signior?

BENEDICK In my chamber-window lies a book: bring it hither to me in the orchard.

Boy I am here already, sir.

Phase II: Reading mode(s): Whole groupStudent task(s)/product(s): Translation of play (see appendix for student template)The teacher will model translation of the first piece of dialogue in front of the whole group, using a board or overhead to model the work as he/she reads aloud, thinks aloud, and writes.

Think-aloud script:Today, we are going to read a scene from the comedy Much Ado About Nothing. You are all going to have a chance to take on a role, but you need to make sure you understand what you’re saying before you try to play the part. We are going to work together to translate the first piece into modern language.

As I read and write, make sure to copy down the translated language on the right hand side of your script.

Say: “Boy!”- That word is okay. I understand what it means, so I’m not going to change it.Do: Write the word “Boy!” on the right hand side.

Say: “Signior?”- Hmm, this is a word we don’t hear very often anymore. Benedick’s name is not ‘signior’, and the boy seems to be his servant. I’m going to guess that the word ‘signior’ means sir.Do: Clearly write “Sir?” on the right.

Say: “In my chamber-window lies a book.” I don’t think anyone says “chamber” anymore. The glossary says that “chamber” means “bedroom.” So, in his bedroom window lies a book. How would we say that today?Do: Write (and say) “There is a book in my bedroom.”Say: Let’s finish the line. “Bring it hither to me in the orchard.” The glossary doesn’t have the word “hither.” Hm. Let me read it again. “Bring it hither to me in the orchard.” Benedick is in the orchard, and he wants the book. I think I could replace “hither” with the word “here.” So Benedick wants the boy to bring the book here, to this place. What is an orchard? The glossary says an orchard is “a garden of fruit of trees.” This word is still used today, so we’re going to keep it in our translation.Do: Write and say “Bring the book here to me in the orchard.”

Say: “I am already here, sir.” Hmm, any problems with that line? No.Do: Clearly write “I am already here, sir.” on the right

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Close Reading Guide


2. BENEDICK I know that; but I would have thee hence, and here again.

Exit Boy I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviors to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by failing in love : and such a man is Claudio. I have known when there was no music with him but the drum and the fife; and now had he rather hear the tabour and the pipe: I have known when he would have walked ten mile a-foot to see a good armour; and now will he lie ten nights awake, carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier; and now is he turned orthography; his words are a very fantastical banquet, just so many strange dishes. May I be so converted and see with these eyes? I cannot tell; I think not: I will not be sworn, but love may transform me to an oyster; but I'll take my oath on it, till he have made an oyster of me, he shall never make me such a fool. One woman is fair, yet I am well; another is wise, yet I am well; another virtuous, yet I am well; but till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that's certain; wise, or I'll none; virtuous, or I'll never cheapen her; fair, or I'll never look on her; mild, or come not near me; noble, or not I for an angel; of good

Say: “I know that; but I would have thee hence, and here again.” This line has some unusual words in it. I wonder what “thee” and “hence” mean. Benedict says he wants “thee hence, and here again.” In order to come back here again, the boy would have to go away. I’m going to guess that “hence” means someplace away from here. Where does he want the boy to go? Hmm, looking back at the last line, Benedick says he wants a book from his room. He wants the boy to go to his room. Now, who does Benedick want to go? The boy. “I would have thee hence” must mean “I want you to go.” Thee must mean ‘you.’

Do: Write “I know that, but I want you to go to my room, and then come back again.”<End of think aloud script>

In phase two, perform this piece yourself (with a student volunteer or coteacher as the Boy) to illustrate to students how to use the rubric and to give an example of what a scene performance might look like.

BenedickBoy!

BoySir?

Benedick:There is a book in my bedroom. Bring the book here to me in the orchard.

Boy:I am already here, sir.

Benedick:I know that, but I want you to go to my room, and then come back again!

Exit BoyBenedick:I find it very surprising that a man, after seeing how foolishly other men act when they fall in love, can laugh at this foolish behavior in others, and then become equally laughable by falling in love himself; Claudio is a perfect example of this kind of man.

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Close Reading Guide


discourse, an excellent musician, and her hair shall be of what colour it please God. Ha! the prince and Monsieur Love! I will hide me in the arbour.

Withdraws

Enter DON PEDRO, CLAUDIO, and LEONATO

3. DON PEDRO Come, shall we hear this music?

CLAUDIO Yea, my good lord. How still the evening is, As hush'd on purpose to grace harmony!

DON PEDRO See you where Benedick hath hid himself?

CLAUDIO O, very well, my lord: the music ended, We'll fit the kid-fox with a pennyworth.

Enter BALTHASAR with Music

DON PEDRO Come, Balthasar, we'll hear that song again.

BALTHASAR O, good my lord, tax not so bad a voice To slander music any more than once.

4. DON PEDRO It is the witness still of excellency To put a strange face on his own perfection. I pray thee, sing, and let me woo no more.

Group I: [For an advanced group] From “and such a man is Claudio,” Chunks 3, 4, 5 and 6. 5 students.

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Close Reading Guide


BALTHASAR Because you talk of wooing, I will sing; Since many a wooer doth commence his suit To her he thinks not worthy, yet he wooes, Yet will he swear he loves.

DON PEDRO Now, pray thee, come; Or, if thou wilt hold longer argument, Do it in notes.

BALTHASAR Note this before my notes; There's not a note of mine that's worth the noting.

DON PEDRO Why, these are very crotchets that he speaks; Note, notes, forsooth, and nothing.

Music plays

5. BENEDICK Now, divine air! now is his soul ravished! Is it not strange that sheeps' guts should hale souls out of men's bodies? Well, a horn for my money, when all's done.

The Song

BALTHASAR Sigh no more, ladies, sigh no more, Men were deceivers ever, One foot in sea and one on shore, To one thing constant never: Then sigh not so, but let them go, And be you blithe and bonny,

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Close Reading Guide


Converting all your sounds of woe Into Hey nonny, nonny. Sing no more ditties, sing no moe, Of dumps so dull and heavy; The fraud of men was ever so, Since summer first was leafy: Then sigh not so, & c.

DON PEDRO By my troth, a good song.

6. BALTHASAR And an ill singer, my lord.

DON PEDRO Ha, no, no, faith; thou singest well enough for a shift.

BENEDICK An he had been a dog that should have howled thus, they would have hanged him: and I pray God his bad voice bode no mischief. I had as lief have heard the night-raven, come what plague could have come after it.

DON PEDRO Yea, marry, dost thou hear, Balthasar? I pray thee, get us some excellent music; for to-morrow night we would have it at the Lady Hero's chamber-window.

7. BALTHASAR The best I can, my lord.

DON PEDRO Do so: farewell.

Exit BALTHASAR

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Close Reading Guide


Come hither, Leonato. What was it you told me of to-day, that your niece Beatrice was in love with Signior Benedick?

CLAUDIO O, ay. (Aside: Stalk on, stalk on; the fowl sits ). I did never think that lady would have loved any man.

8. LEONATO No, nor I neither; but most wonderful that she should so dote on Signior Benedick, whom she hath in all outward behaviors seemed ever to abhor.

BENEDICK Is't possible? Sits the wind in that corner?

9. LEONATO By my troth, my lord, I cannot tell what to think of it but that she loves him with an enraged affection: it is past the infinite of thought.

DON PEDRO May be she doth but counterfeit.

CLAUDIO Faith, like enough.

LEONATO O God, counterfeit! There was never counterfeit of passion came so near the life of passion as she discovers it.

DON PEDRO Why, what effects of passion shows she?

Group II: Chunks 7, 8, 9, and 10. 5 students.

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Close Reading Guide


10. CLAUDIO (Aside) Bait the hook well; this fish will bite .

LEONATO What effects, my lord? She will sit you, you heard my daughter tell you how.

CLAUDIO She did, indeed.

DON PEDRO How, how, pray you? You amaze me: I would have I thought her spirit had been invincible against all assaults of affection.

11. LEONATO I would have sworn it had, my lord; especially against Benedick.

BENEDICK I should think this a gull, but that the white-bearded fellow speaks it: knavery cannot, sure, hide himself in such reverence.

CLAUDIO He hath ta'en the infection: hold it up.

DON PEDRO Hath she made her affection known to Benedick?

LEONATO No; and swears she never will: that's her torment.

12. CLAUDIO 'Tis true, indeed; so your daughter says: 'Shall I,' says she, 'that have so oft encountered him

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Close Reading Guide


with scorn, write to him that I love him?'

LEONATO This says she now when she is beginning to write to him; for she'll be up twenty times a night, and there will she sit in her smock till she have writ a sheet of paper : my daughter tells us all.

CLAUDIO Now you talk of a sheet of paper, I remember a pretty jest your daughter told us of.

LEONATO O, when she had writ it and was reading it over, she found Benedick and Beatrice between the sheet?

13. CLAUDIO That.

LEONATO O, she tore the letter into a thousand halfpence; railed at herself, that she should be so immodest to write to one that she knew would flout her; 'I measure him,' says she, 'by my own spirit; for I should flout him, if he writ to me; yea, though I love him, I should.'

CLAUDIO Then down upon her knees she falls, weeps, sobs, beats her heart, tears her hair, prays, curses; 'O sweet Benedick! God give me patience!'

LEONATO She doth indeed; my daughter says so: and the ecstasy hath so much overborne her that my daughter is sometime afeared she will do a desperate outrage

Group III: Chunks 11, 12, 13, and 14. 4 students.

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Close Reading Guide


to herself: it is very true.

14. DON PEDRO It were good that Benedick knew of it by some other, if she will not discover it.

CLAUDIO To what end? He would make but a sport of it and torment the poor lady worse.

DON PEDRO An he should, it were an alms to hang him. She's an excellent sweet lady; and, out of all suspicion, she is virtuous.

15. CLAUDIO And she is exceeding wise.

DON PEDRO In every thing but in loving Benedick.

LEONATO O, my lord, wisdom and blood combating in so tender a body, we have ten proofs to one that blood hath the victory. I am sorry for her, as I have just cause, being her uncle and her guardian.

DON PEDRO I would she had bestowed this dotage on me: I would have daffed all other respects and made her half myself. I pray you, tell Benedick of it, and hear what a' will say.

LEONATO Were it good, think you?

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Close Reading Guide


16. CLAUDIO Hero thinks surely she will die; for she says she will die, if he love her not, and she will die, ere she make her love known, and she will die, if he woo her, rather than she will bate one breath of her accustomed crossness.

DON PEDRO She doth well: if she should make tender of her love, 'tis very possible he'll scorn it; for the man, as you know all, hath a contemptible spirit.

17. CLAUDIO He is a very proper man.

DON PEDRO He hath indeed a good outward happiness.

CLAUDIO Before God! and, in my mind, very wise.

DON PEDRO He doth indeed show some sparks that are like wit.

CLAUDIO And I take him to be valiant.

DON PEDRO As Hector, I assure you: and in the managing of quarrels you may say he is wise; for either he avoids them with great discretion, or undertakes them with a most Christian-like fear.

18. LEONATO If he do fear God, a' must necessarily keep peace: if he break the peace, he ought to enter into a

Group IV: Chunks 15, 16, 17 and 18.

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Close Reading Guide


quarrel with fear and trembling.

DON PEDRO And so will he do; for the man doth fear God, howsoever it seems not in him by some large jests he will make. Well I am sorry for your niece. Shall we go seek Benedick, and tell him of her love?

CLAUDIO Never tell him, my lord: let her wear it out with good counsel.

LEONATO Nay, that's impossible: she may wear her heart out first.

DON PEDRO Well, we will hear further of it by your daughter: let it cool the while. I love Benedick well; and I could wish he would modestly examine himself, to see how much he is unworthy so good a lady.

19. LEONATO My lord, will you walk? dinner is ready.

CLAUDIO If he do not dote on her upon this, I will never trust my expectation.

DON PEDRO (Aside) Let there be the same net spread for her; and that must your daughter and her gentlewomen carry. The sport will be, when they hold one an opinion of another's dotage, and no such matter: that's the scene that I would see, which will be merely a dumb-show. Let us send her to call him in to dinner.

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Close Reading Guide


Exeunt DON PEDRO, CLAUDIO, and LEONATO

20. BENEDICK [Coming forward] This can be no trick: the conference was sadly borne. They have the truth of this from Hero. They seem to pity the lady: it seems her affections have their full bent. Love me! why, it must be requited. I hear how I am censured: they say I will bear myself proudly, if I perceive the love come from her; they say too that she will rather die than give any sign of affection. I did never think to marry: I must not seem proud: happy are they that hear their detractions and can put them to mending . They say the lady is fair; 'tis a truth, I can bear them witness; and virtuous; 'tis so, I cannot reprove it; and wise, but for loving me; by my troth, it is no addition to her wit, nor no great argument of her folly, for I will be horribly in love with her. I may chance have some odd quirks and remnants of wit broken on me, because I have railed so long against marriage: but doth not the appetite alter? a man loves the meat in his youth that he cannot endure in his age. Shall quips and sentences and these paper bullets of the brain awe a man from the career of his humour? No, the world must be peopled. When I said I would die a bachelor, I did not think I should live till I were married. Here comes Beatrice. By this day! she's a fair lady: I do spy some marks of love in her.

21. Enter BEATRICE

BEATRICE Against my will I am sent to bid you come in to dinner.

Group V: 19, 20, 21. 3 students.

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Close Reading Guide


BENEDICK Fair Beatrice, I thank you for your pains.

BEATRICE : I took no more pains for those thanks than you take pains to thank me: if it had been painful, I would not have come.

BENEDICK You take pleasure then in the message?

BEATRICE Yea, just so much as you may take upon a knife's point and choke a daw withal. You have no stomach, signior: fare you well.

Exit

BENEDICK Ha! 'Against my will I am sent to bid you come in to dinner;' there's a double meaning in that 'I took no more pains for those thanks than you took pains to thank me.' that's as much as to say, Any pains that I take for you is as easy as thanks. If I do not take pity of her, I am a villain; if I do not love her, I am a Jew. I will go get her picture.

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Close Reading Guide


Phase I: Reading Mode: Students will watch a video clip of this scene [Kenneth Branagh film version], following along with the text.Student task/product: Targeted questions for students to complete independently. Students should use the translation handout and use the left column to answer the Clarifying questions.

Teacher Introduction: [SAY] Shakespeare’s texts are meant to be performed, and most of the humor is most evident in this form. For this reason, I want you to see the play. While you watch, answer the questions on the left side of your text on your Translation Handout [see student version]. Note: Teachers may need to pause to allow students to answer. Teachers should also circulate so that they can insure that student answers are correct and correct misunderstandings as needed.

Phase II (Developing summary-level understanding of the text)Reading mode(s): Students will begin with a shared reading using a think aloud [see script in teacher version below], then students will work in groups [see groups laid out in teacher version below].Student task(s)/product(s): Translation Handout for students performing and Interpretation Worksheet for students who are watching. Teachers should score their students’ performances with the Capture Sheet [see appendix G]. Students should evaluate the type of humor and impact using the Interpretation Worksheet.

[SAY] Now that you’ve all completed your translations, we will perform our pieces for the class. While your classmates perform their scenes, you should use the key on your handout [*=funny but don’t know technique, H=hyperbole, P=pun, A=Aside, D=Dramatic Irony, F=foreshadowing, U=understatement, X=Paradox] to mark each underlined comedic technique. You should also identify the impact of the technique. How does it impact you as a reader?**Note: This task presumes that students have had instruction on dramatic irony, hyperbole, asides, understatement, foreshadowing, paradox, and puns. They should have familiarity with these terms. Please see Appendix K for resources for teaching these elements.

Phase III (Developing interpretive understanding of the text)

Teacher should provide students with a copy of the text on the Interpretation Handout from the previous day. [see student version].

Teacher Introduction:

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[SAY] Read your assigned parts (from phase II) in the original Shakespeare out loud in your small group. While you read, stop and explain how you were able to identify each device. You should write a full paragraph to explain the impact of each technique. [Note: Teachers may want to provide students with a model of this type of paragraph for students or sentence starters to help struggling writers]. Teachers should circulate to assist writers and check students responses.

Phase IV (Expressing understanding of the text)Reading mode(s): Independent re-reading as neededStudent task(s)/product(s): Students should collect evidence and draft an essay. Students should utilize an outline to draft an essay [see Appendix H], peer edit [see appendix I], revise, and publish a writing assignment.

Culminating question for module essay: Explain how the author’s choice to include comedic elements (dramatic irony, asides, and puns) in Much Ado About Nothing contributes to the creation of humor. Support your response with textual evidence.

Grading Rubric for Culminating Question Student Essay. See appendix for Sample Student Essay.1 2 3 4

Presentation Messy, handwritten. Neatly handwritten. Typed, but poorly formatted; not in Times New Roman, or size 12 font.

Typed neatly in Times New Roman, size 12 font.

Organization Organization is not evident or completely ineffective.

Some organization is evident. Satisfactory organization. Clear organization of paragraphs and smooth transitions.

Analysis Connection between the thesis and textual evidence is absent or incorrect.

Connection between the analysis and the textual evidence is unclear.

Link between sources and textual evidence is present, but inconsistent or occasionally unclear.

Each piece of evidence is thoroughly connected to thesis.

Support Inadequate evidence utilized. One or fewer quotes are used to support each point; quotation is mostly appropriate for the task.

Two pieces of textual evidence support every point, but some pieces of evidence are less appropriate for the task.

Two appropriately chosen pieces of textual evidence are used to support every point.

Mechanics/ Vocabulary

Careless spelling and grammar, weak vocabulary.

Adequate vocabulary, but occasional misuse of words, or spelling/grammar mistakes.

A few lapses in spelling and mechanics.

College-level vocabulary used throughout. Accurate spelling and grammar.

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