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Senior year communication rubric
Poetry
First quarter: “Autumn Valentine” by Dorothy Parker
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
Memorize the poem.
Irony affects the meaning of this poem. Before recitation, students will identify one
example of irony in their own lives and explain why it is ironic using an introduction,
supporting evidence, and a concluding statement in their explanation.
Your grade will be based on the communication rubric (all aspects of the rubric will be
used).
Second quarter: Shakespearean soliloquy
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
Memorize the passage.
Students will identify the soliloquy’s three most important words. Before recitation, they
will explain why these words are so important to the meaning of the poem using an
introduction, supporting evidence, and a concluding statement in their explanation..
Your grade will be based on the communication rubric (all aspect of the rubric will be used).
Autumn Valentine
Dorothy Parker
In May my heart was breakingOh, wide the wound, and deep!
And bitter it beat at waking,
And sore it split in sleep.
And when it came November,
I sought my heart, and sighed,
"Poor thing, do you remember?"
"What heart was that?" it cried.
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Shakespearean soliloquy


Memorize the passage.
Students will identify the soliloquy’s three most important words. Before recitation, they
will explain why these words are so important to the meaning of the poem using an
introduction, supporting evidence, and a concluding statement in their explanation..
Your grade will be based on the communication rubric (all aspect of the rubric will be used).
Memorizing one of the following passages:
“To be or not to be” from Hamlet (Act III scene i)
Hamlet:
To be, or not to be--that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them. To die, to sleep-No more--and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to. 'Tis a consummation
Devoutly to be wished. To die, to sleep-To sleep--perchance to dream: ay, there's the rub,
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th' oppressor's wrong, the proud man's contumely
The pangs of despised love, the law's delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprise of great pitch and moment
With this regard their currents turn awry
And lose the name of action.
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“O that this too too sullied flesh would melt” from Hamlet
(Act I scene ii)
O that this too too sullied flesh would melt,
Thaw, and resolve itself into a dew,
Or that the Everlasting had not fixed
His canon 'gainst self-slaughter. O God, God,
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on't, ah, fie, 'tis an unweeded garden
That grows to seed. Things rank and gross in nature
Possess it merely. That it should come to this:
But two months dead, nay, not so much, not two,
So excellent a king, that was to this
Hyperion to a satyr, so loving to my mother
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth,
Must I remember? Why, she would hang on him
As if increase of appetite had grown
By what it fed on; and yet within a month-Let me not think on't; frailty, thy name is woman-A little month, or ere those shoes were old
With which she followed my poor father's body
Like Niobe, all tears, why she, even she-O God, a beast that wants discourse of reason
Would have mourned longer-- married with my uncle,
My father's brother, but no more like my father
Than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her gallèd eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good.
But break my heart, for I must hold my tongue.
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Hamlet Act II Scene ii (“O, what a rogue and peasant slave am
I!”)
Hamlet: O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha!
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon't! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
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Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
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Hamlet Act IV Scene iv (“My thoughts be bloody, or be
nothing worth!”)
Hamlet: How all occasions do inform against me,
And spur my dull revenge! What is a man,
If his chief good and market of his time
Be but to sleep and feed? a beast, no more.
Sure, he that made us with such large discourse,
Looking before and after, gave us not
That capability and god-like reason
To fust in us unused. Now, whether it be
Bestial oblivion, or some craven scruple
Of thinking too precisely on the event,
A thought which, quarter'd, hath but one part wisdom
And ever three parts coward, I do not know
Why yet I live to say 'This thing's to do;'
Sith I have cause and will and strength and means
To do't. Examples gross as earth exhort me:
Witness this army of such mass and charge
Led by a delicate and tender prince,
Whose spirit with divine ambition puff'd
Makes mouths at the invisible event,
Exposing what is mortal and unsure
To all that fortune, death and danger dare,
Even for an egg-shell. Rightly to be great
Is not to stir without great argument,
But greatly to find quarrel in a straw
When honour's at the stake. How stand I then,
That have a father kill'd, a mother stain'd,
Excitements of my reason and my blood,
And let all sleep? while, to my shame, I see
The imminent death of twenty thousand men,
That, for a fantasy and trick of fame,
Go to their graves like beds, fight for a plot
Whereon the numbers cannot try the cause,
Which is not tomb enough and continent
To hide the slain? O, from this time forth,
My thoughts be bloody, or be nothing worth!
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“St. Crispian’s Day speech” from Henry V
King Henry V: What's he that wishes so?
My cousin Westmoreland? No, my fair cousin;
If we are mark'd to die, we are enough
To do our country loss; and if to live,
The fewer men, the greater share of honour.
God's will! I pray thee, wish not one man more…
Proclaim it, Westmoreland, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made,
And crowns for convoy put into his purse;
We would not die in that man's company
That fears his fellowship to die with us.
This day is call'd the feast of Crispian.
He that outlives this day, and comes safe home,
Will stand a tip-toe when this day is nam'd,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian.'
Then will he strip his sleeve and show his scars,
And say 'These wounds I had on Crispian's day.'
Old men forget; yet all shall be forgot,
But he'll remember, with advantages,
What feats he did that day. Then shall our names,
Familiar in his mouth as household wordsHarry the King, Bedford and Exeter,
Warwick and Talbot, Salisbury and GloucesterBe in their flowing cups freshly rememb'red.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be rememberedWe few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition;
And gentlemen in England now-a-bed
Shall think themselves accurs'd they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.
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“Upon the king” from Henry V
King Henry V: Upon the king! let us our lives, our souls,
Our debts, our careful wives,
Our children and our sins lay on the king!
We must bear all. O hard condition,
Twin-born with greatness, subject to the breath
Of every fool, whose sense no more can feel
But his own wringing! What infinite heart's-ease
Must kings neglect, that private men enjoy!
And what have kings, that privates have not too,
Save ceremony, save general ceremony?
And what art thou, thou idle ceremony?
What kind of god art thou, that suffer'st more
Of mortal griefs than do thy worshippers?
What are thy rents? what are thy comings in?
O ceremony, show me but thy worth!
What is thy soul of adoration?
Art thou aught else but place, degree and form,
Creating awe and fear in other men?
Wherein thou art less happy being fear'd
Than they in fearing.
What drink'st thou oft, instead of homage sweet,
But poison'd flattery? O, be sick, great greatness,
And bid thy ceremony give thee cure!
Think'st thou the fiery fever will go out
With titles blown from adulation?
Will it give place to flexure and low bending?
Canst thou, when thou command'st the beggar's knee,
Command the health of it? No, thou proud dream,
That play'st so subtly with a king's repose;
I am a king that find thee, and I know
'Tis not the balm, the sceptre and the ball,
The sword, the mace, the crown imperial,
The intertissued robe of gold and pearl,
The farced title running 'fore the king,
The throne he sits on, nor the tide of pomp
That beats upon the high shore of this world,
No, not all these, thrice-gorgeous ceremony,
Not all these, laid in bed majestical,
Can sleep so soundly as the wretched slave,
Who with a body fill'd and vacant mind
Gets him to rest, cramm'd with distressful bread;
Never sees horrid night, the child of hell,
But, like a lackey, from the rise to set
Sweats in the eye of Phoebus and all night
Sleeps in Elysium; next day after dawn,
Doth rise and help Hyperion to his horse,
And follows so the ever-running year,
With profitable labour, to his grave:
And, but for ceremony, such a wretch,
Winding up days with toil and nights with sleep,
Had the fore-hand and vantage of a king.
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DUXBURY HIGH SCHOOL COMMUNICATION RUBRIC
ESSENTIAL
ELEMENTS
CONTENT
4
EXEMPLARY
3
PROFICIENT
 Extensive presentation with a complete
set of supporting facts, examples, and
/or details.
 Extraordinary confidence, clarity, and
awareness of purpose.
 Effective presentation with ample facts,
examples, and/or details.
2
SATISFACTORY
1
UNSATISFACTORY
 Considerable confidence, clarity, and
awareness of purpose.
 Suitable presentation with adequate
supporting facts, examples, and/or
details.
 Acceptable confidence, clarity, and
awareness of purpose.
 Limited presentation with minimal
supporting facts, examples, and/or
details offered.
 Limited confidence, clarity, and
awareness of purpose.
 Extensive evidence of topic knowledge
and reasoning processes.
 Substantial evidence of topic
knowledge and reasoning processes.
 Adequate evidence of topic
knowledge and reasoning processes.
 Minimal evidence of topic
knowledge and reasoning process.
 Opening/closing
 Extraordinary opening & closing.
 Effective opening & closing.
 Suitable opening & closing.
 Limited opening & closing.
 Transitions
 Enriching transitions.
 Successful transitions.
 Acceptable transitions.
 Negligible transitions.
 Logical dev. of ideas
 Extensive development of ideas.
 Considerable development of ideas.
 Acceptable development of ideas.
 Limited development of ideas.
 Extensive use of appropriate
vocabulary/terminology.
 Consistent utilization of correct
grammar and pronunciation.
 Presentation style is always appropriate
to audience.
 Effective use of appropriate
vocabulary/terminology.
 Nearly always utilizes correct grammar
and pronunciation.
 Presentation style is nearly always
appropriate to audience.
 Adequate use of appropriate
vocabulary/terminology.
 Utilization of grammar and
pronunciation is generally correct.
 Presentation style is generally
appropriate to audience.
 Minimal use of appropriate
vocabulary/terminology.
 Occasionally utilizes correct
grammar and pronunciation.
 Presentation style is rarely
appropriate to audience.
 Volume is loud enough to be heard by
all audience members throughout
presentation.
 Presenter speaks clearly and distinctly
all the time.
 Extraordinary use of pitch and tone to
convey meaning.
 Volume is loud enough to be heard by
all audience members throughout most
of the presentation.
 Presenter speaks clearly and distinctly
most of the time.
 Effective use of pitch and tone to
convey meaning.
 Volume is loud enough to be heard
by all audience members throughout
some of the presentation.
 Presenter speaks clearly and
distinctly some of the time.
 Adequate use of pitch and tone to
convey meaning.
 Volume is barely audible.
 Presentation indicates advanced levels
of original thinking.
 Exceptional pacing.
 Presenter stands up straight, is
confident, and establishes eye contact
with everyone in the room during the
presentation.
 Gestures effectively enhance
presentation.
 Presentation indicates substantial
original thinking.
 Effective pacing.
 Presenter stands up straight and
establishes eye contact with everyone
in the room during the presentation.
 Presentation indicates original
thinking some of the time.
 Suitable pacing.
 Presenter sometimes stands up
straight and establishes some eye
contact with the audience during the
presentation.
 Gestures generally enhance
presentation.
 Presentation indicates a minimal
level of original thinking.
 Ineffective pacing.
 Presenter has poor posture, and/or
does not look at people during the
presentation.
 Main Idea &
Supporting Details
 Achievement of
purpose
 Knowledge of topic
ORGANIZATION
LANGUAGE USE
 Vocabulary &
terminology
 Grammar
 Pronunciation
 Style (Formal or
Informal) appropriate
to audience.
VOICE
 Volume
 Clarity
 Intonation
DELIVERY
 Creativity
 Pace
 Posture
 Eye Contact
 Gestures
 Gestures nearly always enhance
presentation.
 Presenter often mumbles or cannot
be understood.
 Minimal use of pitch and tone to
convey meaning.
 Gestures are limited and rarely
enhance presentation.
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