Maine Memory Network

What Remains: Learning about Maine Populations through Burial Customs

Grade Level: 6-8 Content Area: English Language Arts, Social Studies, Visual & Performing Arts
This lesson plan will give students an overview of how burial sites and gravestone material culture can assist historians and archaeologists in discovering information about people and migration over time. Students will learn how new scholarship can help to dispel harmful archaeological myths, look into the roles of religion and ethnicity in early Maine and New England immigrant and colonial settlements, and discover how to track changes in population and social values from the 1600s to early 1900s based on gravestone iconography and epitaphs.

Primary Sources: Daily Life in 1820

Grade Level: 6-8, 9-12 Content Area: Social Studies
This lesson plan will give students the opportunity to explore and analyze primary source documents from the years before, during, and immediately after Maine became the 23rd state in the Union. Through close looking at documents, objects, and art from Maine during and around 1820, students will ask questions and draw informed conclusions about life at the time of statehood.

Maine Monochromatic Oceanscape

Grade Level: 6-8 Content Area: Visual & Performing Arts
This lesson plan will give students an overview of the creatures that live in the Gulf of Maine, real and imagined. Students will be able to describe the creatures they learn about, first learning simple art skills, and then combining these simple skills to make an Oceanscape picture that is complex.

Longfellow Studies: The Writer's Hour - "Footprints on the Sands of Time"

Grade Level: 3-5 Content Area: English Language Arts, Social Studies
These lessons will introduce the world-famous American writer and a selection of his work with a compelling historical fiction theme. Students take up the quest: Who was HWL and did his poetry leave footprints on the sands of time? They will "tour" his Cambridge home through young eyes, listen, and discuss poems from a writer’s viewpoint, and create their own poems inspired by Longfellow's works. The interdisciplinary approach utilizes critical thinking skills, living history, technology integration, maps, photos, books, and peer collaboration. The mission is to get students keenly interested in what makes a great writer by using Longfellow as a historic role model. The lessons are designed for students at varying reading levels. Slow learners engage in living history with Alice’s fascinating search through the historic Craigie house, while gifted and talented students may dramatize the virtual tour as a monologue. Constant discovery and exciting presentations keep the magic in lessons. Remember that, "the youthful mind must be interested in order to be instructed." Students will build strong writing skills encouraging them to leave their own "footprints on the sands of time."

Longfellow Studies: "Christmas Bells"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
The words of this poem are more commonly known as the lyrics to a popular Christmas Carol of the same title. Henry Wadsworth Longfellow wrote "Christmas Bells" in December of 1863 as the Civil War raged. It expresses his perpetual optimism and hope for the future of mankind. The poem's lively rhythm, simple rhyme and upbeat refrain have assured its popularity through the years.

Longfellow Studies: "Haunted Houses"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
Longfellow's collection The Courtship of Miles Standish and other Poems was published in 1858. It sold 250,000 copies in two months and over 10.000 copies in London on the first day; Henry Wadsworth Longfellow was extremely popular during his lifetime. "Haunted Houses" is a work from that collection. It is a poem that is especially appealing around Halloween. The poem welcomes the reader to a place where "The spirit-world around the world of sense floats like an atmosphere . . ."

Longfellow Studies: "The Poet's Tale - The Birds of Killingworth"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Science & Engineering, Social Studies
This poem is one of the numerous tales in Henry Wadsworth Longfellow's Tales of the Wayside Inn. The collection was published in three parts between 1863 and 1873. This series of long narrative poems were written by Longfellow during the most difficult personal time of his life. While mourning the tragic death of his second wife (Fanny Appleton Longfellow) he produced this ambitious undertaking. During this same period he translated Dante's Inferno from Italian to English. "The Poet's Tale" is a humorous poem with a strong environmental message which reflects Longfellow's Unitarian outlook on life.

Longfellow Studies: Celebrity's Picture - Using Henry Wadsworth Longfellow's Portraits to Observe Historic Changes

Grade Level: 3-5, 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
"In the four quarters of the globe, who reads an American book?" Englishman Sydney Smith's 1820 sneer irked Americans, especially writers such as Irving, Cooper, Hawthorne, and Maine's John Neal, until Henry Wadsworth Longfellow's resounding popularity successfully rebuffed the question. The Bowdoin educated Portland native became the America's first superstar poet, paradoxically loved especially in Britain, even memorialized at Westminster Abbey. He achieved international celebrity with about forty books or translations to his credit between 1830 and 1884, and, like superstars today, his public craved pictures of him. His publishers consequently commissioned Longfellow's portrait more often than his family, and he sat for dozens of original paintings, drawings, and photos during his lifetime, as well as sculptures. Engravers and lithographers printed replicas of the originals as book frontispiece, as illustrations for magazine or newspaper articles, and as post cards or "cabinet" cards handed out to admirers, often autographed. After the poet's death, illustrators continued commercial production of his image for new editions of his writings and coloring books or games such as "Authors," and sculptors commemorated him with busts in Longfellow Schools or full-length figures in town squares. On the simple basis of quantity, the number of reproductions of the Maine native's image arguably marks him as the country's best-known nineteenth century writer. TEACHERS can use this presentation to discuss these themes in art, history, English, or humanities classes, or to lead into the following LESSON PLANS. The plans aim for any 9-12 high school studio art class, but they can also be used in any humanities course, such as literature or history. They can be adapted readily for grades 3-8 as well by modifying instructional language, evaluation rubrics, and targeted Maine Learning Results and by selecting materials for appropriate age level.

Maine's Beneficial Bugs: Insect Sculpture Upcycle/ Recycle S.T.E.A.M Challenge

Grade Level: 3-5, 6-8 Content Area: Science & Engineering, Visual & Performing Arts
In honor of Earth Day (or any day), Students use recycled, reused, and upcycled materials to create a sculpture of a beneficial insect that lives in the state of Maine. Students use the Engineer Design Process to develop their ideas. Students use the elements and principles to analyze their prototypes and utilize interpersonal skills during peer feedback protocol to accept and give constructive feedback.

Longfellow Studies: Longfellow and the American Sonnet

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Traditionally the Petrarchan sonnet as used by Francesco Petrarch was a 14 line lyric poem using a pattern of hendecasyllables and a strict end-line rhyme scheme; the first twelve lines followed one pattern and the last two lines another. The last two lines were the "volta" or "turn" in the poem. When the sonnet came to the United States sometime after 1775, through the work of Colonel David Humphreys, Longfellow was one of the first to write widely in this form which he adapted to suit his tone. Since 1900 poets have modified and experimented with the traditional traits of the sonnet form.

Longfellow Studies: The Birth of An American Hero in "Paul Revere's Ride"

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
The period of American history just prior to the Civil War required a mythology that would celebrate the strength of the individual, while fostering a sense of Nationalism. Longfellow saw Nationalism as a driving force, particularly important during this period and set out in his poem, "Paul Revere's Ride" to arm the people with the necessary ideology to face the oncoming hardships. "Paul Revere's Ride" was perfectly suited for such an age and is responsible for embedding in the American consciousness a sense of the cultural identity that was born during this defining period in American History. It is Longfellow's interpretation and not the actual event that became what Dana Gioia terms "a timeless emblem of American courage and independence." Gioia credits the poem's perseverance to the ease of the poem's presentation and subject matter. "Paul Revere's Ride" takes a complicated historical incident embedded in the politics of Revolutionary America and retells it with narrative clarity, emotional power, and masterful pacing,"(2). Although there have been several movements to debunk "Paul Revere's Ride," due to its lack of historical accuracy, the poem has remained very much alive in our national consciousness. Warren Harding, president during the fashionable reign of debunk criticism, perhaps said it best when he remarked, "An iconoclastic American said there never was a ride by Paul Revere. Somebody made the ride, and stirred the minutemen in the colonies to fight the battle of Lexington, which was the beginning of independence in the new Republic of America. I love the story of Paul Revere, whether he rode or not" (Fischer 337). Thus, "despite every well-intentioned effort to correct it historically, Revere's story is for all practical purposes the one Longfellow created for him," (Calhoun 261). It was what Paul Revere's Ride came to symbolize that was important, not the actual details of the ride itself.

Longfellow's Ripple Effect: Journaling With the Poet - "My Lost Youth"

Grade Level: 6-8, 9-12, Postsecondary Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow's Ripple Effect: Journaling With the Poet - "The Fire of Drift-Wood"

Grade Level: 6-8, 9-12, Postsecondary Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow's Ripple Effect: Journaling With the Poet - "The Bridge"

Grade Level: 6-8, 9-12, Postsecondary Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow's Ripple Effect: Journaling With the Poet - "Footsteps of Angels"

Grade Level: 6-8, 9-12, Postsecondary Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow's Ripple Effect: Journaling With the Poet - "Psalm of Life"

Grade Level: 6-8, 9-12, Postsecondary Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow Studies: "Evangeline: A Tale of Acadie"--Selected Lines and Illustrations

Grade Level: 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
Henry Wadsworth Longfellow, Maine's native son, is the epitome of Victorian Romanticism. Aroostook County is well acquainted with Longfellow's epic poem, Evangeline, because it is the story of the plight of the Acadians, who were deported from Acadie between 1755 and 1760. The descendants of these hard-working people inhabit much of Maine, New Brunswick, and Nova Scotia. The students enjoy hearing the story and seeing the ink drawings. The illustrations are my interpretations. The collection took approximately two months to complete. The illustrations are presented in a Victorian-style folio, reminiscent of the family gathered in the parlor for a Sunday afternoon reading of Evangeline, which was published in 1847. Preparation Required/Preliminary Discussion: Have students read "Evangeline A Tale of Acadie". Give a background of the Acadia Diaspora. Suggested Follow-up Activities: Students could illustrate their own poems, as well as other Longfellow poems, such as: "Paul Revere's Ride," "The Village Blacksmith," or "The Children's Hour." "Tales of the Wayside Inn" is a colonial Canterbury Tales. The guest of the inn each tell stories. Student could write or illustrate their own characters or stories. Appropriate calligraphy assignments could include short poems and captions for their illustrations. Inks, pastels, watercolors, and colored pencils would be other appropriate illustrative media that could be applicable to other illustrated poems and stories. Each illustration in this exhibit was made in India ink on file folder paper. The dimensions, including the burgundy-colors mat, are 9" x 12". A friend made the calligraphy.

Longfellow Studies: "The Slave's Dream"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
In December of 1842 Henry Wadsworth Longfellow's Poems on Slavery was published. "The Slave's Dream" is one of eight anti-slavery poems in the collection. A beautifully crafted and emotionally moving poem, it mesmerizes the reader with the last thoughts of an African King bound to slavery, as he lies dying in a field of rice. The 'landscape of his dreams' include the lordly Niger flowing, his green-eyed Queen, the Caffre huts and all of the sights and sounds of his homeland until at last 'Death illuminates his Land of Sleep.'

Longfellow Studies: "The Jewish Cemetery at Newport"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
Longfellow's poem "The Jewish Cemetery at Newport" opens up the issue of the earliest history of the Jews in America, and the significant roles they played as businessmen and later benefactors to the greater community. The history of the building itself is notable in terms of early American architecture, its having been designed, apparently gratis, by the most noted architect of the day. Furthermore, the poem traces the history of Newport as kind of a microcosm of New England commercial cities before the industrialization boom. For almost any age student the poem could be used to open up interest in local cemeteries, which are almost always a wealth of curiousities and history. Longfellow and his friends enjoyed exploring cemeteries, and today our little local cemeteries can be used to teach little local histories and parts of the big picture as well. Henry Wadsworth Longfellow visited the Jewish cemetery in Newport, RI on July 9, 1852. His popular poem about the site, published two years later, was certainly a sympathetic portrayal of the place and its people. In addition to Victorian romantic musings about the "Hebrews in their graves," Longfellow includes in this poem references to the historic persecution of the Jews, as well as very specific references to their religious practices. Since the cemetery and the nearby synagogue were restored and protected with an infusion of funding just a couple years after Longfellow's visit, and later a congregation again assembled, his gloomy predictions about the place proved false (never mind the conclusion of the poem, "And the dead nations never rise again!"). Nevertheless, it is a fascinating poem, and an interesting window into the history of the nation's oldest extant synagogue.

Longfellow Studies: Longfellow and Dickens - The Story of a Trans-Atlantic Friendship

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
What if you don't teach American Studies but you want to connect to Henry Wadsworth Longfellow in meaningful ways? One important connection is Henry's friendship with Charles Dickens. There are many great resources about Dickens and if you teach his novels, you probably already know his biography and the chronology of his works. No listing for his association with Henry appears on most websites and few references will be found in texts. However, journals and diary entries and especially letters reveal a friendship that allowed their mutual respect to influence Henry's work.

Longfellow's Ripple Effect: Journaling With the Poet - "The Song of Hiawatha"

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
This lesson is part of a series of six lesson plans that will give students the opportunity to become familiar with the works of Longfellow while reflecting upon how his works speak to their own experiences.

Longfellow Studies: Integration of Longfellow's Poetry into American Studies

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
We explored Longfellow's ability to express universality of human emotions/experiences while also looking at the patterns he articulated in history that are applicable well beyond his era. We attempted to link a number of Longfellow's poems with different eras in U.S. History and accompanying literature, so that the poems complemented the various units. With each poem, we want to explore the question: What is American identity?

Longfellow Studies: Longfellow's "The Village Blacksmith" and "Whitman's Song of Myself" - Alternative Constructions of the American Worker

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Most if not all of us have or will need to work in the American marketplace for at least six decades of our lives. There's a saying that I remember a superintendent telling a group of graduating high-school seniors: remember, when you are on your deathbed, you will not be saying that you wish you had spent more time "at the office." But Americans do spend a lot more time working each year than nearly any other people on the planet. By the end of our careers, many of us will have spent more time with our co-workers than with our families. Already in the 21st century, much has been written about the "Wal-Martization" of the American workplace, about how, despite rocketing profits, corporations such as Wal-Mart overwork and underpay their employees, how workers' wages have remained stagnant since the 1970s, while the costs of college education and health insurance have risen out of reach for many citizens. It's become a cliché to say that the gap between the "haves" and the "have nots" is widening to an alarming degree. In his book Wealth and Democracy, Kevin Phillips says we are dangerously close to becoming a plutocracy in which one dollar equals one vote. Such clashes between employers and employees, and between our rhetoric of equality of opportunity and the reality of our working lives, are not new in America. With the onset of the industrial revolution in the first half of the nineteenth century, many workers were displaced from their traditional means of employment, as the country shifted from a farm-based, agrarian economy toward an urban, manufacturing-centered one. In cities such as New York, groups of "workingmen" (early manifestations of unions) protested, sometimes violently, unsatisfactory labor conditions. Labor unions remain a controversial political presence in America today. Longfellow and Whitman both wrote with sympathy about the American worker, although their respective portraits are strikingly different, and worth juxtaposing. Longfellow's poem "The Village Blacksmith" is one of his most famous and beloved visions: in this poem, one blacksmith epitomizes characteristics and values which many of Longfellow's readers, then and now, revere as "American" traits. Whitman's canto (a section of a long poem) 15 from "Song of Myself," however, presents many different "identities" of the American worker, representing the entire social spectrum, from the crew of a fish smack to the president (I must add that Whitman's entire "Song of Myself" is actually 52 cantos in length). I do not pretend to offer these single texts as all-encompassing of the respective poets' ideas about workers, but these poems offer a starting place for comparison and contrast. We know that Longfellow was the most popular American poet of the nineteenth century, just as we know that Whitman came to be one of the most controversial. Read more widely in the work of both poets and decide for yourselves which poet speaks to you more meaningfully and why.

Longfellow Studies: The American Wilderness? How 19th Century American Artists Viewed the Separation Of Civilization and Nature

Grade Level: 9-12 Content Area: Social Studies, Visual & Performing Arts
When European settlers began coming to the wilderness of North America, they did not have a vision that included changing their lifestyle. The plan was to set up self-contained communities where their version of European life could be lived. In the introduction to The Crucible, Arthur Miller even goes as far as saying that the Puritans believed the American forest to be the last stronghold of Satan on this Earth. When Roger Chillingworth shows up in The Scarlet Letter's second chapter, he is welcomed away from life with "the heathen folk" and into "a land where iniquity is searched out, and punished in the sight of rulers and people." In fact, as history's proven, they believed that the continent could be changed to accommodate their interests. Whether their plans were enacted in the name of God, the King, or commerce and economics, the changes always included – and still do to this day - the taming of the geographic, human, and animal environments that were here beforehand. It seems that this has always been an issue that polarizes people. Some believe that the landscape should be left intact as much as possible while others believe that the world will inevitably move on in the name of progress for the benefit of mankind. In F. Scott Fitzgerald's The Great Gatsby – a book which many feel is one of the best portrayals of our American reality - the narrator, Nick Carraway, looks upon this progress with cynicism when he ends his narrative by pondering the transformation of "the fresh green breast of a new world" that the initial settlers found on the shores of the continent into a modern society that unsettlingly reminds him of something out of a "night scene by El Greco." Philosophically, the notions of progress, civilization, and scientific advancement are not only entirely subjective, but also rest upon the belief that things are not acceptable as they are. Europeans came here hoping for a better life, and it doesn't seem like we've stopped looking. Again, to quote Fitzgerald, it's the elusive green light and the "orgiastic future" that we've always hoped to find. Our problem has always been our stoic belief system. We cannot seem to find peace in the world either as we've found it or as someone else may have envisioned it. As an example, in Miller's The Crucible, his Judge Danforth says that: "You're either for this court or against this court." He will not allow for alternative perspectives. George W. Bush, in 2002, said that: "You're either for us or against us. There is no middle ground in the war on terror." The frontier -- be it a wilderness of physical, religious, or political nature -- has always frightened Americans. As it's portrayed in the following bits of literature and artwork, the frontier is a doomed place waiting for white, cultured, Europeans to "fix" it. Anything outside of their society is not just different, but unacceptable. The lesson plan included will introduce a few examples of 19th century portrayal of the American forest as a wilderness that people feel needs to be hesitantly looked upon. Fortunately, though, the forest seems to turn no one away. Nature likes all of its creatures, whether or not the favor is returned. While I am not providing actual activities and daily plans, the following information can serve as a rather detailed explanation of things which can combine in any fashion you'd like as a group of lessons.