A folding comic puzzle in which the heads of Confederate General P.G.T. Beauregard and a donkey switch bodies. An example of mass of anti-Beauregard material published in the north after the outbreak of hostilities leading to Civil War.|Published by Samuel Upham, 310 Chestnut Street, Philadelphia. Entered according to Act of Congress, in the year 1861, by Samuel C. Upham, 310 Chestnut St., Philadelphia, in the Clerk's Office of the District Court of the United States, in and of the Eastern District of Pennsylvania.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Caricature of John or Jonathan Pluck, an illiterate hostler elected Colonel of the 84th Pennsylvania militia in a controversial 1824 election. He is shown here marching toward the left, raising a sword inscribed "Ducit amor patria." According to Nancy Halli of the Historical Society of Pennsylvania, several articles appeared in the "Democratic Press" and "United States Gazette" following his outrageous militia parade in May 1825, and could have inspired the print. In the background is a crowd of militia troops armed with tree branches and brooms. One man holds aloft a flag emblazoned with a man milking a cow; another flag shows two men sawing a log. A black youth rides by on a pig, saying "Hurra for de Pennsylwamy light infamy." He is followed by a barefoot militiaman riding a cow. Below the title are the verses: "I could not stir, / But like a comet, I was wonder'd at; / Others would tell their children "This is he" /Others would say - Where? which is the "Colonel?" / And then I stole all courtesy from heaven, / And dress'd myself in such humility, /That I did PLUCK allegience from mens hearts. Shakspr. The lines come from Shakespeare's "Henry IV," part one.|Signed: D.C. Johnston del. (David Claypool Johnston).|Title appears as it is written on the item.|Johnson, "D. C. Johnston, the American Cruikshank," Antiques, (July 1972), p. 102.|Murrell, p. 106.|Purchase; Caroline and Erwin Swann Memorial Fund.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1825-2.

The 11th grade learning experience consists of 7 mostly month-long units aligned to the Common Core State Standards, with available course material for teachers and students easily accessible online. Over the course of the year there is a steady progression in text complexity levels, sophistication of writing tasks, speaking and listening activities, and increased opportunities for independent and collaborative work. Rubrics and student models accompany many writing assignments.Throughout the 11th grade year, in addition to the Common Read texts that the whole class reads together, students each select an Independent Reading book and engage with peers in group Book Talks. Students move from learning the class rituals and routines and genre features of argument writing in Unit 11.1 to learning about narrative and informational genres in Unit 11.2: The American Short Story. Teacher resources provide additional materials to support each unit.

People often say that mankind should learn from history. Charles Dickens, whose books are considered classics, set his novel A Tale of Two Cities in the past. He wanted his readers to learn from the bloody French Revolution and from the widespread brutality in London. Both cities (Paris and London) offer the reader a glimpse into dark and dangerous times. As students read about Dickens's Victorian setting and learn his view of the French Revolution, they will think about what makes a just world. Students will have a chance to think about their own experiences, and, using techniques they have learned from Charles Dickens, they will do some writing that sends a message about your own world.

ACCOMPLISHMENTS

To complete the unit accomplishments, students will:

Read the Charles Dickens novel A Tale of Two Cities.
Read several short pieces, including a biography of Dickens and excerpts from other literature, to help them understand Dickens’s world and the world of the novel.
Explore new vocabulary to build their ability to write and speak using academic language.
Practice close reading and participate in several role plays and dramatic readings to help them experience the dramatic writing style of Charles Dickens.
Write a vignette and a short narrative piece, and practice using descriptive detail and precise language.
Write a reflection about the meaning of Dickens’s novel.

GUIDING QUESTIONS

These questions are a guide to stimulate thinking, discussion, and writing on the themes and ideas in the unit. For complete and thoughtful answers and for meaningful discussions, students must use evidence based on careful reading of the texts.

How does good storytelling affect the reader, and how can a good story promote change in the world?
What was the Victorian view of gender roles?
How can power be abused?
What is loyalty ? What are the limits of loyalty?

In this lesson, to help you enter into the world of A Tale of Two Cities, you will think about Dickens’s time period and the reasons that he wrote a novel that takes place before he was born.In this lesson, to help them enter into the world of A Tale of Two Cities, students will think about Dickens’s time period and the reasons that he wrote a novel that takes place before he was born.

Jacksonian editor Francis Preston Blair rises from his coffin, revived by a primitive galvanic battery, as two demons look on. A man on the right throws up his hands as he is drawn toward Blair, saying: Had I not been born insensible to fear, now should I be most horribly afraid. Hence! horrible shadow! unreal mockery. Hence! And yet it stays: can it be real. How it grows! How malignity and venom are "blended in cadaverous union" in its countenance! It must surely be a "galvanized corpse." But what do I feel? The thing begins to draw me . . . I can't withstand it. I shall hug it! . . . First demon: "There! We've lost him, after all! See! they are bringing him to life again!" Second demon (holding a copy of Blair's newspaper, the "Globe)": Lose him! ha ha! . . . Rest you easy on that score. But can't you see that it's all for our gain that he should be galvanized into activity again? Where have we his equal on earth? especially since dear Amos [Kendall], poor fellow, has got his hands so full, at the Post Office, that he can't write for us as he used to. Show me another man that can lie like him. They talk of Croswell [influential editor of the "Albany Argus" and Van Buren ally Edwin Croswell] but Harry is nothing to him. I doubt if I can beat him myself. Lose him! a good joke that! Weitenkampf tentatively identifies the man at right as Amos Kendall, but the likeness differs considerably from that found in other caricatures of Kendall.|Printed & pub: by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 43.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-25.

Evidently a companion to "The Globe Man Listening to Webster's speech on the Specie Circular" (no. 1838-3), the small, bust-length caricature of Democratic editor Francis Preston Blair shows him looking even more cadaverous and morose. The title refers to the defeat of Van Buren's Independent Treasury Bill in 1838. The print was registered for copyright on July 6, 1838, soon after the bill was voted down late in the second session of the Twenty-fifth Congress.|Entd . . . 1838 by H.R. Robinson . . . Southn. Dist. of N.Y.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-4.

A small, bust-length caricature of Washington "Globe" editor and Van Buren adviser Francis Preston Blair. The print was probably issued in the spring of 1838. In May of that year the Specie Circular, an extremely unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver ("specie") in payment for public lands, was repealed. The print's title may refer to Daniel Webster's lengthy March 12 speech condemning the Independent Treasury Bill and other aspects of President Van Buren's fiscal program. The print may to be a companion piece to "The Globe-Man After hearing of the Vote on the Sub-Treasury Bill" (no. 1838-4). Both are probably attributable to Napoleon Sarony on the strength of their marked resemblance to Sarony's characterization of Blair in "A Globe to Live On!" (no. 1840-42).|Entd . . . 1838 by H.R. Robinson . . . Southern District of N. York|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-3.

A caricature of Martin Van Buren as an opossum. The marsupial, with a smirking Van Buren's head, rises on its hindquarters and displays in its pouch three of its "young." They are administration insiders (left to right): Thomas Hart Benton, John C. Calhoun, and Washington "Globe" editor Francis Preston Blair. |Drawn by Edward Williams Clay?|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 63.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-52.

A caricature of Andrew Jackson as a despotic monarch, probably issued during the Fall of 1833 in response to the President's September order to remove federal deposits from the Bank of the United States. The print is dated a year earlier by Weitenkampf and related to Jackson's controversial veto of Congress's bill to recharter the Bank in July 1832. However, the charge, implicit in the print, of Jackson's exceeding the President's constitutional power, however, was most widely advanced in connection not with the veto but with the 1833 removal order, on which the President was strongly criticized for acting without congressional approval. Jackson, in regal costume, stands before a throne in a frontal pose reminiscent of a playing-card king. He holds a "veto" in his left hand and a scepter in his right. The Federal Constitution and the arms of Pennsylvania (the United States Bank was located in Philadelphia) lie in tatters under his feet. A book "Judiciary of the U[nited] States" lies nearby. Around the border of the print are the words "Of Veto Memory", "Born to Command" and "Had I Been Consulted." |Title appears as it is written on the item.|Weitenkampf cites a variant with 20 lines of letterpress below, attacking Jackson as "a king who has placed himself above the law."|Weitenkampf, p. 26.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-4.

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A satire on the publisher's own troubles with the Democratic establishment in New York. In his print shop Henry R. Robinson is confronted by an unidentified man (center, arms crossed) who says, "I am determined this d---d Whig concern shall be shut up till after the Election." The man may be city surveyor and inspector Eli Moore. Robinson, standing with his back to a stove and holding a purse marked "$141," thumbs his nose and retorts, "Does Jesse Hoyt [Democratic strongman and collector of the port] know you're out?" The Custom House was the center of Democratic political control in New York. Robinson, a Whig, apparently ran afoul of the Democrats by his caricatures of Governor William L. Marcy. Marcy had recently been widely criticized for his handling of the Bamber case (see "Executive Mercy/Marcy and the Bambers," no. 1838-5). Two newsboys on the left ask, "Have you got any more of the Bamber Caricatures?" and "I want some more of your Whig Caricatures." Two men stand at the right, waiting to serve a notice of "Distress for Rent in Arrear." One of them says, "I'm afraid we sha'nt get our Rent." A shop clerk watches from behind the counter.|Drawn by "HD" (Henry Dacre?) or Edward Williams Clay.|Mention of the Bamber caricatures and recently appointed Collector Jesse Hoyt places "Loco Foco Persecution" in late 1838 or early 1839. Attribution to HD is based on the print's stylistic similarity to his "Specie Claws" (no. 1838-14), although the main figures seem to be drawn by a superior hand (possibly E.W. Clay).|Printed & publd. by H.R. Robinson, 52 Cortlandt St: 11 1/2 Wall & 38 Chatham St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 51.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-8.

A caricature of Missouri senator Thomas Hart Benton, as an insect rolling a large ball "Expunging Resolution" uphill toward the Capitol. The print employs Benton's own metaphor of rolling a ball for his uphill campaign to have a March 1834 Senate censure of then-President Andrew Jackson stricken from the Senate journal. The censure had condemned Jackson's removal of federal deposits from the Bank of the United States as exceeding the President's constitutional power. In the cartoon Benton says, "Solitary and alone and amidst the jeers and taunts of my opponents I put this Ball in motion." The quotation comes from Benton's 1834 speech given in the Senate, stating his intention to move to expunge the censure. Benton's campaign earned him scorn from the opposition and, initially, little support from friends of the administration. But his resolution was finally passed in January 1837. The cartoon must have appeared shortly after the successful vote, for the ball is inscribed with a "List of the Black Knights," which names the twenty-four senators who voted for the resolution.|Drawn by Edward Williams Clay?|Published by H.R. Robinson, 52 Cortlandt St. N-York.|Title appears as it is written on the item.|Weitenkampf, p. 46.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-14.

A playful caricature of a Millerite, an adherent of the Adventist preacher William Miller who predicted that the world would end on April 23, 1844. The man sits in a large safe labeled "Patent Fire Proof Chest," stocked with a ham, a fan (hanging on the door of the safe), cheese, brandy, cigars, ice, a hat, and a small book marked "Miller." As he thumbs his nose, he says "Now let it come! I'm ready." The "salamander safe," probably a trade name of the period, is named after the animal mythically reputed to have the ability to endure fire (and, presumably, the holocaust) without harm.|Entered . . . 1843 by T. Sinclair Pa.|Printed by Thomas Sinclair, Philadelphia.|The Library's impression of the print was deposited for copyright prior to the expected day of reckoning, on March 2, 1843.|Title appears as it is written on the item.|Murrell, p. 159.|Weitenkampf, p. 73.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1843-5.

Whig senator Henry Clay is attacked here on several fronts. The artist alludes to his reputation for gambling, his widely publicized outburst in the House of Representatives in February 1838, and his alleged unethical flirtation with banking interests. The title also refers to a Clay supporter, the influential Whig editor of the "Morning Courier and New York Enquirer," James Watson Webb. Webb is credited with popularizing the label "Whig" as the name of the anti-Jackson political party..In the print Clay is shown as he "enters the Hall of Representatives from his favorite amusement "Brag and Poker"" with a book of "Hoyle's Games" in one hand and playing cards spilling from his coat pocket. In the upper left is the text: "I will now go home and look over Hoyle and calculate the odds in favor of my friend P----'s Faro Bank, in which he proposes to give me a d--n good interest." (Soliloquy of Sir Harry Bluff). Clay was a tireless opponent of Jackson and Van Buren's treasury program and an advocate of speculative and "soft money" interests. In the upper right is: "Now go home G-d D-n you where you belong." Spoken by H. Clay in the Hall of the House of Representatives after the vote on the contested "Mississippi Election." The harsh words were directed by Clay at Speaker of the House James K. Polk, after the latter cast the deciding vote invalidating the election of two pro-Whig representatives from Mississippi, Sergeant S. Prentiss and T.J. Ward.|Entered . . . 1838 by W. Chambers . . . Southern District of New York|The Library's impression of the print was deposited for copyright on November 2, 1838. The print is similar in format to Chambers's caricature of James Watson Webb, also entitled "Scene in Washington" (no. 1838-17).|Title appears as it is written on the item.|Weitenkampf, p. 55.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-16.

A caricature of James Watson Webb, prominent Whig editor of the "Morning Courier and New York Enquirer." Webb is shown parading, armed to the teeth, along Pennsylvania Avenue. He carries a sword cane, a musket, a knife, and several pistols. The print followed the widely publicized killing of Maine Congressman Jonathan Cilley by Kentucky Representative William J. Graves in a duel on February 24, 1838. The duel was initially provoked by Webb, who became the object of the considerable public outrage aroused by the murder. Subsequently two of Cilley's allies, Representatives Jesse A. Bynum of North Carolina and Alexander Duncan of Ohio, threatened Webb with physical harm. They are mentioned cryptically in the newspaper account, ascribed to "Courier and Enquirer" correspondent Matthew L. Davis ("Spy in Washington"), quoted in the print: "In consequence of various threats and intimations thrown out by D***** B**** and others, that Col [Webb] would receive personal chastisement; he found it necessary to show himself to his chivalric friends which he did by twice walking the length of the Pennsylvana Avenue." The artist has Webb saying, "I'm a small Army in Myself: I am afraid there is not much danger here after all." He is followed by a turkey in full plumage, a symbol of his pompous, arrogant nature.|Entered . . . 1838 by W. Chambers . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on March 23, 1838. Eight days later Chambers copyrighted a second print on the same affair, "The New Code of Chivalry or What We Would Have Done" (no. 1838-18). Yet another Chambers print, an anti-Clay caricature (no. 1838-16), uses the same "Scene in Washington" title and is very similar in format.|Title appears as it is written on the item.|Weitenkampf, p. 55.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-17 .

The second of two particularly well-drawn caricatures by the same artist, on the subject of the 1839 congressional probe of Van Buren's Treasury Department. (See above, nos. 1839-6 through -9.) The inquiry was prompted by the Swartwout embezzlement scandal. "Symptoms of a Duel" must have appeared early in 1839, since the committee's final reports were tabled by the House on February 27. Here Treasury Secretary Levi Woodbury (left) aims a pistol at investigative committee chairman James Harlan, a bespectacled man who scrutinizes him through a small telescope labeled "Committee of Investigation." Harlan carries several telescopes and optical instruments with his own name and those of Whig members of the committee Edward Curtis and David Douglas Wagener. His largest telescope bears the name of the committee's most vocal member, "Henry A. Wise maker Washington. Night and Day." Harlan addresses Wise (not visible but offstage to the right), "Heavens! Wise. How he looks thro' this glass!" Wise: "Black, or Blue!" Harlan: "Both!" Woodbury's pistol bears the names of Francis Thomas and Samuel Cushman, Democratic members of the committee. Woodbury says "I "challenge" Scrutiny!" The unidentified artist's drawing style, his handling of the figures, and his relatively spare compositions strongly suggest common authorship with "Called to Account" and "Abolition Frowned Down" (nos. 1839-11 and -12). Weitenkampf erroneously identifies Woodbury here as Van Buren.|"Printed & publd. by H.R. Robinson, 52 Cortlandt & 11-1/2 Wall St. N.Y."|Drawn by HD?|Entd. . . . 1839 by H.R. Robinson.|Title appears as it is written on the item.|Weitenkampf, p. 57.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1839-10.

The caricature reflects the bitter antagonism between Kentucky senator Henry Clay and President Andrew Jackson, during the protracted battle over the future of the Bank of the United States from 1832 through 1836. The print may relate specifically to Clay's successful 1834 campaign to exclude from the Senate journal Jackson's statement of protest against Congressional censure of his earlier actions on the Bank. Clay is shown restraining a seated, uniformed Jackson and sewing up his mouth. From Clay's pocket protrudes a slip of paper reading, "cure for calumny." Below the image is a quote from Shakespeare's "Hamlet," ". . . Clay might stop a hole, to keep the wind away." On the wall behind him are the words "Plain sewing done here."|Signed: DCJ (David Claypoole Johnston).|Title appears as it is written on the item.|Century, p. 44. |Johnson, no. 147.|Murrell, p. 120.|Weitenkampf, p. 34.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1834-10.