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Grade 4 · unit review

Review: Sound, Stanzas and Stage Choices

Apply name a poem sound device, explain a stanza break, distinguish script components, identify narrative viewpoint using supplied texts and original responses.

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Bring the unit skills together

Use these 4 new cases to check your reasoning. Choices are temporary and are not saved to an account, sent to staff or recorded as school grades. Download your current review choices before leaving or reloading.

Unit review questions
1. Sound: light/night endings. Break: bus stop becomes bus interior. Highlight: LEE: . Narration: Lea worried, and Jo privately felt confident. Which sound device is most clearly supplied?
Need a hint?
  • A refrain repeats more than a first sound.
  • A topic repeated in prose is not necessarily rhyme.
2. Sound: light/night endings. Break: bus stop becomes bus interior. Highlight: LEE: . Narration: Lea worried, and Jo privately felt confident. What change does the stated stanza break mark?
Need a hint?
  • Morning to night shifts time.
  • A blank line alone does not prove a new speaker.
3. Sound: light/night endings. Break: bus stop becomes bus interior. Highlight: LEE: . Narration: Lea worried, and Jo privately felt confident. What kind of script element is highlighted?
Need a hint?
  • A scene heading can supply place and time.
  • A character name before a colon is not the dialogue itself.
4. Sound: light/night endings. Break: bus stop becomes bus interior. Highlight: LEE: . Narration: Lea worried, and Jo privately felt confident. Which viewpoint is supplied in this narration?
Need a hint?
  • Limited gives one mind in this sample.
  • External narration does not state hidden feelings.

The download contains your current choices and any checked feedback. Keep the separate transfer-task work in your own document; downloading its instructions does not mark it complete.

Use the skills in a new task

Make a short complete response demonstrating the four skills in this unit. Compose an original two-stanza poem with a stated morning-to-night shift and one repeated line. Turn its last event into a short script containing a scene heading, speaker label, dialogue and stage direction. Explain one viewpoint choice. Longer writing targets in optional extensions can be completed in a later session.

Work on paper or in your own document. Explain the choices you made.

  • Read the sound phrase aloud and compare beginnings, endings and complete lines. Identify the strongest explicitly supplied pattern.
  • Read the words before and after the break. Identify the change explicitly described instead of assuming every break means time passed.
  • Inspect the highlighted form and its function. If bracketed action is highlighted, describe what an actor does rather than speaks.
  • Check pronouns and whose inner thoughts the supplied passage reveals. Do not infer omniscience from a name alone.
Compare with a model response

Poem: At morning I count every door; / A light lies still across the floor. // At night I close the final door; / A light lies still across the floor. Two stanzas mark a morning-to-night shift and repeat a whole line as a refrain. Script: Scene: hallway, night. JO: I will close it. [Jo shuts the door.] First-person I in the poem differs from a speaker label in the script.

A different response can also meet the criteria. Compare the evidence and reasoning, rather than copying the wording.