Transcript CRITICAL READING

CRITICAL
READING
The STAAR exam is not a basic reading
comprehension test. STAAR expects you
to be a critical reader and thinker. You
can improve your performance on the test
by employing some basic reading and
reasoning strategies and a little common
sense.
COMMON SENSE
 Read
ALL passages carefully and
completely.
 You
cannot pass the STAAR reading test
by skimming the passages or reading the
first and last paragraphs so please don’t
try.
COMMON SENSE
 Read
ALL questions carefully.
 Do
not assume that you know what the
question is asking you. The STAAR test is
unlike the TAKS test in that it will NOT
underline, bold, or capitalize key words like
“not” or “except”.
 Look
for key “game changer” words in each
question. Underline or circle them.
COMMON SENSE

Read ALL answer choices carefully.

Eliminate the obviously wrong answers. You’ll
probably be able to cross out two of the answers.

Examine the TWO answers that look good. One of
them may have a single “game changer” word that
makes it wrong. Another possibility is that the wrong
answer may be a true statement about the passage, but
it may not actually address the question. You need to
read all the answer choices to make sure you are truly
choosing the correct answer.
COMMON SENSE
 If
a question refers back to a specific part
of the test, go back and re-read that part
of the passage. This test is not about
perfect recall.
A
critical reader will go back and revisit
the passage when a question references a
specific sentence or paragraph in the
passage.
COMMON SENSE
 Look
up any words you don’t understand.
 Write
the definitions of those words in the
margin so that you don’t have to look
them up again later.
 For
difficult definitions, use the thesaurus
to help you understand. Find a synonym
for the word.
CRITICAL READING:
POETRY
UNDERSTANDING POETRY
When reading poetry for comprehension, it’s important
to follow the punctuation, not the end of the line. If you
treat the end of each line like a period, you will lose the
meaning of the poem.
In poetry, lines can end for purposes of rhyme, rhythm,
emphasis, or simply appearance. The lines of some
poems end for no other reason than to create a shape.
Follow the poem’s punctuation in order to increase your
comprehension.
THEME
Ask yourself, “What truth about life is the poet trying to
convey with this poem?”
Does the poet use figurative language (metaphor, simile,
analogy, personification, symbolism) to suggest a “truth
about life”? What is the purpose of the comparison or
symbolism? What is the poet trying to say?
Consider the poet’s tone. Consider the speaker’s tone.
Ask yourself if the speaker’s perspective is the poet’s
perspective. Don’t get mislead by a persona created by the
poet.
SPEAKER AND AUDIENCE
Ask yourself, “Who is the speaker of this poem? Who is the
speaker addressing?” Sometimes the poem may be
conveying the feelings of the poet himself, but sometimes
the poet may have created a persona, as in a dramatic
monologue.
In “My Last Duchess,” Robert Browning creates the
persona of the Duke as his speaker. The Duke is
addressing a nobleman’s servant. The nobleman is
considering marrying off his daughter to the Duke.
Look at the poem and see if you can tell what line provides
you that information.
My Last Duchess
Robert Browning (1812–1889)
THAT’S my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
5
“Frà Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
10
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek: perhaps
15
Frà Pandolf chanced to say, “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat:” such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad.
20
Too easily impressed: she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favor at her breast,
25
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
30
Or blush, at least. She thanked men,—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
35
In speech—(which I have not)—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
40
Her wits to yours, forsooth, and made excuse,
—E’en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
50
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
55
Which Claus of Innsbruck cast in bronze for me!
Lines 47-49 tell us that he is speaking to the servant of a Count, “The
Count your master’s.” Lines 49-53 tell us that the Duke is seeking to
marry the Count’s daughter. A dowry was the monetary gift that was
given to the groom for taking the woman off the family’s hands.
If you were the Count, would you allow your daughter to marry the
Duke? Why or why not? How would you describe the Duke’s
treatment of his last Duchess? Would what the Duke said in
line 46 concern you, as a father?
CRITICAL READING:
DRAMA
When reading a play, it’s important to remember that
plays are written to be performed and viewed, not read.
Plays consist of dialogue and stage direction. Dialogue is
what the characters are saying. Stage directions can tell
you HOW the characters are saying something, WHAT
the characters are doing on stage (their movements), and
WHAT is on the stage with them. Stage direction also
informs you when someone enters or exits the stage.
While a playwright provides stage direction to assist a
director and actors in producing a play, stage direction
also plays a crucial role for the reader. Stage direction
helps the reader to envision what would be happening on
stage during a production of the play.
It is VERY important to read both the dialogue
AND the stage direction.
THEME
Ask yourself, “What truth about life is the author trying to
convey with this play?”
Does the character learn anything in the story? Did he
grow or change in some way that might convey a theme?
Does the author use symbolism that helps convey a theme?
Does the conflict in the play serve as example of a theme (a
general truth about life)?
CRITICAL READING:
NONFICTION
Nonfiction can be a little more difficult to read than fiction.
INFORMATIVE
If a nonfiction piece is loaded down with facts and data,
you may have difficulty recalling the information you just
read. It is very important that you go back and re-read the
relevant portions of the passage when answering
questions.
Hi-light important concepts and facts provided in the
nonfiction passage. It will make it easier for you to go back
and find those important ideas later.
PERSUASIVE
If you are reading a persuasive piece of nonfiction, be
aware of the rhetorical devices that the author uses to try
to convince his/her audience. Is the author making a
logical appeal by providing facts and making logical
connections? Is the author using imagery, figurative
language, and/or emotionally charged language to make
an emotional appeal ?
Is the author using faulty logic to try to make his/her
argument? Is he/she using scare tactics, circular logic, or
mudslinging? Review the RHETORICAL DEVICES
PowerPoint to see the types of flawed rhetorical
techniques an author might use to convince you.
CRITICAL READING:
FICTION
When reading fiction, it is important not to skim through
the exposition (the descriptive passages). Many students
have the urge to skip to the dialogue to get to the “good
stuff.” You cannot afford to do this on a reading test.
First of all, you may actually be skipping “the good stuff.”
A short story or novel is NOT a play. It is not mostly
dialogue. Crucial plot twists or character development are
provided in the exposition. You need to read the short story
in its entirety.
 Keep an eye out for foreshadowing.
 Make note of the point of view and the narrator. Is it
first person? Do you need to question the narrator’s
veracity or motivation?
 Be aware of the plot development (exposition, rising
action, climax, falling action, resolution).
 Examine figurative language and other imagery.
 Question character actions. Ask yourself why a
character is doing what he’s doing.
 Examine what a character says. Is he being sincere?
Ironic?
 Look for situational irony or dramatic irony.
THEME
Ask yourself, “What truth about life is the author trying to
convey with this story?”
Does the character learn anything in the story? Did he
grow or change in some way that might convey a theme?
Does the author use symbolism that helps convey a theme?
Does the conflict in the story serve as example of a theme (a
general truth about life)?
***These questions also work when looking for theme
in drama.***