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: FràPandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said 5 “FràPandolf” 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 FràPandolf 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 20 For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad.

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. • Look for symbolism and/or motifs (repeated ideas, images, symbols).

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.***

CRITICAL READING