Printable Hundred Chart and Blank Hundred Chart

The hundred chart is a valuable learning resource to help young children with counting to 100, counting by 2s, 5s, 10s, multiplication, and seeing counting patterns. You can play counting games with students based on the hundred  chart worksheets, which the student either fills in on their own, or you can print out a hundred chart that is prefilled with all the numbers. Regular use of the hundred chart from kindergarten to the 3rd grade supports many counting concepts. Help With Seeing Patterns Use this prefilled hundred chart (in pdf format) or ask your students to fill their own in this blank form. As a student fills in the chart, the child will begin to see patterns emerge. You can ask the question, Circle in red the numbers on the chart that end in 2. Or, similarly, put a blue box around all numbers ending in 5.  Ask what they notice and why they think it is happening. Repeat the process with numbers ending in 0. Talk about the patterns they notice. You can help students practice their multiplication tables in the chart by counting by 3s, 4s, or whichever multiplier and coloring in those numbers. Counting Games   To save on paper,  you can provide students with a laminated copy of a  hundred chart  for quicker access and an erasable marker. There are many games that can be played on a hundred chart that help children learn about counting to 100, placement, and  order of number. Simple word problems you can try include addition functions, such as, What number is 10 more than 15? Or, you can practice subtraction, like, What number is  3 less than 10. Skip counting games can be a fun way to teach a fundamental concept using a marker or coins to cover all the 5s or 0s. Have children name the numbers underneath without peeking. Similar to the game Candy Land, you can have two children play together on one chart with a small marker for each player and a dice. Have each student start at the first square and move in numerical order through the chart and have a race to the end square. If you want to practice addition, start from the first square. If you want to practice subtraction, start from the last square and work backward. Make Math a Puzzle You can teach place value by cutting up the columns (lengthwise) into strips. You can have the students work together to reorder the strips into a complete hundred chart. Alternatively, you can cut up the hundred chart into big chunks, like a puzzle. Ask the student to piece it back together. Make Math a Mystery You can play a game called Too Big, Too Small, with a large group of children and a hundred chart. You can base it on the entire hundred chart. You can preselect a number (mark it somewhere, then conceal it). Tell the group that you have a number one through 100 and they must guess it. Each person gets a turn to guess. They can each say one number. The only clue you will give is, too big, if the number exceeds the preselected number, or too small, if  the number is less than the preselected number. Have the children mark off on their hundred chart the numbers that are canceled out by your clues of too big, and too small.

Analysis Of The Bluest Eye Surprises Us - 854 Words

As is the case for any work that is derivative of another, stage adaptations of novels are often burdened by their prominent and celebrated origins. The process of bending literature to fit the contours of theater often results in a product that is diluted and far less poignant than the original. However, once in a while, a play like The Bluest Eye surprises us by masterfully redefining the function of the central characters, modifying the nature of the work without unduly sacrificing the vibrancy of the story that it seeks to tell, and rearranging essential elements in juxtaposition to illustrate and emphasize important ideas. Diamond’s script indeed accomplishes her aim of presenting the story â€Å"as a tale of the damaging trickle-down†¦show more content†¦In Diamond’s work, on the other hand, the characters introduce themselves and the setting of the story, even narrating their feelings later on. By having the characters address the audience directly and describe the setting of the story at the beginning, Diamond successfully redefines the characters and their arguments and proclamations as communicative devices that convey the message of the play to the audience. This reframing of characters externalizes their sentiments and leaves little room for audience interpretation. For example, while a â€Å"familiar violence rose† (Morrison 108) in Claudia in the novel, she expresses to the audience an â€Å"urge to squash† the little girl and â€Å"perform the same ritual† she â€Å"performed on† her â€Å"white dolls† (Diamond 56) in the play. In so reframing her characters, Diamond leaves little room for interpretation while creating an appropriate emotional distance between the audience and the characters, as the sentiments and messages of the characters are explicitly communicated to the audience are audience members are prevented from completely identifying with the characters, preserving the status of Diamond’s work as more social commentary than true story-telling. I was surprised, however, that Diamond so proficiently adapts the characters into narrative devices without excessively

Animal Farm Essay Conclusion Example For Students

Animal Farm Essay Conclusion Animal FarmI. Animal Farm is a story of the struggle for freedom and power. It takes place on a farm in England called Manor Farm. There are many different kinds of animals on the farm; these animals include horses, geese, dogs, cats, sheep, and pigs, which are the most intelligent of all the animals. The story starts out when old Major, an old, wise pig, calls a meeting in the barn. He tells the animals about a dream he has. The dream was about how the animals should rebel against the leader of the farm, Mr. Jones. He tells them that in the dream he remembered a song called Beasts of England. The song is about how the animals should rebel against the humans. He teaches the animals the song and tells them that he is going to die soon. A few weeks later old Major dies. The animals hold secret meetings about the rebellion a couple times a week. None of the animals really expected the rebellion to happen any time soon, but it happened before anyone expected. Mr. Jones started to neglect the animals, and one day the animals decided that they had enough. A cow broke into the building where the food was kept, and all of the animals decided to get some food. Mr. Jones and some of his helpers came out with whips as started lashing the animals, but were caught by surprise when the animals started to fight back. The men fled in panic, and before anyone realized it, the rebellion had begun. The animals were on an emotional high for the next few days. They set up rules, including the seven commandments, and decided to make Snowball and Napoleon (pigs) the leaders. The animals had meetings every Sunday to discuss and vote on what should happen, and the work schedule for the following week. Every single time an idea was brought up Snowball and Napoleon would disagree. This went on for a year. Finally, at one of the meetings Napoleon and 9 dogs jumped Snowball, and chased him off of the farm. From then on the farm became a dictatorship, not a republic as the animals had dreamed of before t he rebellion. Napoleon lied to the animals a lot, but none of them were smart enough to realize it. He planted false memories in the animals heads, and manipulated them. He stole food from them and blamed it on Snowball. Then he started to go against the seven commandments, but none of the animals could remember the seven commandments. He moved into the farm house and started to take up human activities, but none of the other animals had enough courage to stand up to him. At the end of the story Napoleon and the other pigs were sitting around a table, playing poker, and getting drunk with the humans. It was then that the animals realized that their dream hadn?t really come true. II. Old Major was an old pig who installed the idea of a rebellion into the animals head. He was thought of very highly by the other animals before his death. Napoleon was one of the two pigs who helped develop the rebellion. He ended up taking over the farm and turning it from a republic into a dictatorship. Snowball was the other pig who helped in the leading of the rebellion. He was eventually chased away by Napoleon. Boxer was the strong horse who had two mottoes; ?I will work harder?, and ?Napoleon is always right?. The animals were inspired by his hard work and how he never gave up. .u05d037946bae6528a575935c5ac6e819 , .u05d037946bae6528a575935c5ac6e819 .postImageUrl , .u05d037946bae6528a575935c5ac6e819 .centered-text-area { min-height: 80px; position: relative; } .u05d037946bae6528a575935c5ac6e819 , .u05d037946bae6528a575935c5ac6e819:hover , .u05d037946bae6528a575935c5ac6e819:visited , .u05d037946bae6528a575935c5ac6e819:active { border:0!important; } .u05d037946bae6528a575935c5ac6e819 .clearfix:after { content: ""; display: table; clear: both; } .u05d037946bae6528a575935c5ac6e819 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u05d037946bae6528a575935c5ac6e819:active , .u05d037946bae6528a575935c5ac6e819:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u05d037946bae6528a575935c5ac6e819 .centered-text-area { width: 100%; position: relative ; } .u05d037946bae6528a575935c5ac6e819 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u05d037946bae6528a575935c5ac6e819 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u05d037946bae6528a575935c5ac6e819 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u05d037946bae6528a575935c5ac6e819:hover .ctaButton { background-color: #34495E!important; } .u05d037946bae6528a575935c5ac6e819 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u05d037946bae6528a575935c5ac6e819 .u05d037946bae6528a575935c5ac6e819-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u05d037946bae6528a575935c5ac6e819:after { content: ""; display: block; clear: both; } READ: Christianity And Politics EssayClover was another horse who was very quiet. She wasn?t as hard of a worker as Boxer was, but she was smarter. Benjamin was the donkey. He didn?t talk very much, but he was wise and smart. Squealer was one of Napoleons servants. He told all of the animals about Napoleons decisions. He was a very persuasive talker. III.George Orwell uses many different literary techniques . His diction is very simple. He writes like he is one of the animals; using simple words, and describing things the way the animals perceive them. His writing style is not very realistic. The idea of animals talking and ruling over a

The Sanity Of Hamlet Essay Example For Students

The Sanity Of Hamlet Essay Method in the Madness: Hamlets Sanity Supported Through His Relation to Ophelia and Edgars Relation to LearIn both Hamlet and King Lear, Shakespeare incorporates a theme of madness with two characters: one truly mad, and one only acting mad to serve a motive. The madness of Hamlet is frequently disputed. This paper argues that the contrapuntal character in each play, namely Ophelia in Hamlet and Edgar in King Lear, acts as a balancing argument to the other characters madness or sanity. King Lears more decisive distinction between Lears frailty of mind and Edgars contrived madness works to better define the relationship between Ophelias breakdown and Hamlets north-north-west brand of insanity. Both plays offer a character on each side of sanity, but in Hamlet the distinction is not as clear as it is in King Lear. Using the more explicit relationship in King Lear, one finds a better understanding of the relationship in Hamlet. We will write a custom essay on The Sanity Of Hamlet specifically for you for only $16.38 $13.9/page Order now While Shakespeare does not directly pit Ophelias insanity (or breakdown) against Hamlets madness, there is instead a clear definitiveness in Ophelias condition and a clear uncertainty in Hamlets madness. Obviously, Hamlets character offers more evidence, while Ophelias breakdown is quick, but more conclusive in its precision. Shakespeare offers clear evidence pointing to Hamlets sanity beginning with the first scene of the play. Hamlet begins with guards whose main importance in the play is to give credibility to the ghost. If Hamlet were to see his fathers ghost in private, the argument for his madness would greatly improve. Yet, not one, but three men together witness the ghost before even thinking to notify Hamlet. As Horatio says, being the only of the guards to play a significant role in the rest of the play, Before my God, I might not this believe / Without the sensible and true avouch / Of mine own eyes. (I.i.56-8) Horatio, who appears frequently throughout the play, acts as an unquestionably sane alibi to Hamlet again when framing the King with his reaction to the play. That Hamlet speaks to the ghost alone detracts somewhat from its credibility, but all the men are witness to the ghost demanding they speak alone. Horatio offers an insightful warning:What if it tempts you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles oer his base into the sea, And there assume some other horrible form Which might deprive your sovereignty of reason, And draw you into madness? Think of it. (I.iv.69-74)Horatios comment may be where Hamlet gets the idea to use a plea of insanity to work out his plan. The important fact is that the ghost does not change form, but rather remains as the King and speaks to Hamlet rationally. There is also good reason for the ghost not to want the guards to know what he tells Hamlet, as the play could not proceed as it does if the guards were to hear what Hamlet did. It is the ghost of Hamlets father who tells him, but howsomever thou pursues this act, / Taint not thy mind. (I.v.84-5) Later, when Hamlet sees the ghost again in his mothers room, her amazement at his madness is quite convincing. Yet one must take into consideration the careful planning of the ghosts credibility earlier in the play. After his first meeting with the ghost, Hamlet greets his friends cheerfully and acts as if the news is good rather than the devastation it really is. Horatio: What news, my lord?Hamlet: O, wonderful!Horatio: Good my lord, tell it. Hamlet: No, you will reveal it. (I.v.118-21)This is the first glimpse of Hamlets ability and inclination to manipulate his behavior to achieve effect. Clearly Hamlet is not feeling cheerful at this moment, but if he lets the guards know the severity of the news, they might suspect its nature. Another instance of Hamlets behavior manipulation is his meeting with Ophelia while his uncle and Polonius are hiding behind a curtain. Hamlets affection for Ophelia has already been established in I.iii., and his complete rejection of her and what has transpired between them is clearly a hoax. Hamlet somehow suspects the eavesdroppers, just as he guesses that Guildenstern and Rosencrantz are sent by the King and Queen to question him and investigate the cause of his supposed madness in II.ii. .u39a1355cdcef56e347f13f24c952a4aa , .u39a1355cdcef56e347f13f24c952a4aa .postImageUrl , .u39a1355cdcef56e347f13f24c952a4aa .centered-text-area { min-height: 80px; position: relative; } .u39a1355cdcef56e347f13f24c952a4aa , .u39a1355cdcef56e347f13f24c952a4aa:hover , .u39a1355cdcef56e347f13f24c952a4aa:visited , .u39a1355cdcef56e347f13f24c952a4aa:active { border:0!important; } .u39a1355cdcef56e347f13f24c952a4aa .clearfix:after { content: ""; display: table; clear: both; } .u39a1355cdcef56e347f13f24c952a4aa { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u39a1355cdcef56e347f13f24c952a4aa:active , .u39a1355cdcef56e347f13f24c952a4aa:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u39a1355cdcef56e347f13f24c952a4aa .centered-text-area { width: 100%; position: relative ; } .u39a1355cdcef56e347f13f24c952a4aa .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u39a1355cdcef56e347f13f24c952a4aa .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u39a1355cdcef56e347f13f24c952a4aa .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u39a1355cdcef56e347f13f24c952a4aa:hover .ctaButton { background-color: #34495E!important; } .u39a1355cdcef56e347f13f24c952a4aa .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u39a1355cdcef56e347f13f24c952a4aa .u39a1355cdcef56e347f13f24c952a4aa-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u39a1355cdcef56e347f13f24c952a4aa:after { content: ""; display: block; clear: both; } READ: The Plastic Industry EssayHamlets actions in the play after meeting the ghost lead everyone except Horatio to believe he is crazy, yet that madness is continuously checked by an ever-present consciousness of action which never lets him lose control. For example, Hamlet questions his conduct in his soliloquy at the end of II.ii, but after careful consideration decides to go with his instinct and prove to himself without a doubt the Kings guilt before proceeding rashly. Even after the Kings guilt is proven with Horatio as witness, Hamlet again reflects and uses his better judgement in the soliloquy at the end of III.ii. before seeing his mother. He recognizes his passionate feelings, but tells himself to speak daggers to her, but use none, as his fathers ghost instructed. Again, when in the Kings chamber, Hamlet could perform the murder, but decides not to in his better judgement to ensure that he doesnt go to heaven by dying while praying. As Hamlet tells Guildenstern in II.ii., I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw. This statement reveals out-right Hamlets intent to fool people with his odd behavior. This is after Polonius enlightened comment earlier in the same scene, though this be madness, yet there is method int.Compare the copious evidence against Hamlets madness with the complete lack of evidence for Ophelias sanity after her fathers murder. Her unquestionable insanity puts Hamlets very questionable madness in a more favorable light. In IV.v. she is quite obviously mad, and unlike Hamlet there seems to be no method to her madness. All Ophelia can do after learning of her fathers death is sing. In deed, Hamlets utter rejection of her combined with this is too much for her, and she doesnt sing a mourning song at the beginning of IV.v, but rather a happy love song. Later, when she meets with Leartes, she says to him:Theres rosemary, thats for remembrance; pray you, love, remember. And there is pansies, thats for thoughts. Leartes: A document in madness, thoughts and remembrance fitted. Thought and afflictions, passion, hell itself, She turns to favor and to prettiness. (IV.v.179-89)While the Queen tells Leartes that an envious sliver broke and flung Ophelia into the river wearing a headdress of wild-flowers (compare the mad Lears crown of weeds), the clowns in V.i. confirm the readers suspicion that she did not die so accidentally:Is she to be buried in Christian burial when she willfully seeks her own salvation? (V.i.1-2)Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, it is, will he, nill he, he goes, mark you that. But if the water come to him and drown him, he drowns not himself; argal, he that is not guilty of his own death shortens not his own life. (15-20)Ophelias breakdown into madness and inability to deal with her fathers death and Hamlets rejection is dealt with neatly and punctually. There is little evidence against her madness, compared to Hamlets intelligent plotting and use of witnesses to his actio ns. Thus, by defining true madness in Ophelia, Shakespeare subtracts from the plausibility of Hamlets supposed insanity. Comparing the juxtaposition of insanity and questioned sanity in King Lear reveals another use of this device by Shakespeare. In King Lear the lines are drawn more distinctly between sanity and insanity, allowing a sharper contrast between the plays two versions of madness. Edgars soliloquy in II.iii. communicates his intent to act and dress as a mad beggar: Whiles I may scapeI will preserve myself, and am bethought To take the basest and most poorest shape That ever penury, in contempt of man, Brought near to beast. My face Ill grime with filth, Blanket my loins, elf all my hairs in knots, And with presented nakedness outface The winds and persecutions of the sky. (II.iii.5-12)There is no question of Edgars intent here, and when they see this ?Bedlam beggar in action, the audience is aware that it is Edgar and that he is not really insane. As in Hamlet, the contrived madness is more spectacular than the true madness. Edgar changes his voice, tears his clothes, and babbles on like a genuine lunatic seeming in contrivance more genuine than Lear, the genuine maniac. .u80f14600c727fc6074b1c42ad57462ff , .u80f14600c727fc6074b1c42ad57462ff .postImageUrl , .u80f14600c727fc6074b1c42ad57462ff .centered-text-area { min-height: 80px; position: relative; } .u80f14600c727fc6074b1c42ad57462ff , .u80f14600c727fc6074b1c42ad57462ff:hover , .u80f14600c727fc6074b1c42ad57462ff:visited , .u80f14600c727fc6074b1c42ad57462ff:active { border:0!important; } .u80f14600c727fc6074b1c42ad57462ff .clearfix:after { content: ""; display: table; clear: both; } .u80f14600c727fc6074b1c42ad57462ff { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u80f14600c727fc6074b1c42ad57462ff:active , .u80f14600c727fc6074b1c42ad57462ff:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u80f14600c727fc6074b1c42ad57462ff .centered-text-area { width: 100%; position: relative ; } .u80f14600c727fc6074b1c42ad57462ff .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u80f14600c727fc6074b1c42ad57462ff .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u80f14600c727fc6074b1c42ad57462ff .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u80f14600c727fc6074b1c42ad57462ff:hover .ctaButton { background-color: #34495E!important; } .u80f14600c727fc6074b1c42ad57462ff .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u80f14600c727fc6074b1c42ad57462ff .u80f14600c727fc6074b1c42ad57462ff-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u80f14600c727fc6074b1c42ad57462ff:after { content: ""; display: block; clear: both; } READ: Affirmitive Action EssayJust as Ophelias breakdown is believable because of her fathers death and her rejection from Hamlet, Lears old age accounts for his frailty of mind and rash, foolish decisions. The reader is given no motive for Lear to tear his clothes off like a raving maniac or wear a crown of weeds and babble like a fool other than his old age and incapability to deal with his inability to act rationally. He realizes after being told for most of the play that he is being a fool that perhaps his advisors are right. Only at this point, it has long been clear to the reader that his madness is due to senility. In these two plays, Shakespeare uses the dimmer light of reality to expose the brighter light of contrivance. Hamlet and Edgar are dynamic, animated, and absurd in their madness, making Lears and Ophelias true madness seem realistic rather than absurd. Hamlet and Edgar both explicitly state the contrivance of their madness, while Lear and Ophelia do not. Further, Hamlet and Edgar both have motive behind leading others to believe they are insane. Although both are under severe pressure and emotional strain due to their respective situations in each play, they both show a remarkable amount of intelligent, conscious, and rational decision-making in efforts to resolve their situations. In this way, they are sharply contrasted with the mad Lear and Ophelia, whose insanity is not questioned by themselves or other characters in either play. Neither after displaying madness make any rational decisions that would lead the reader to believe in their sanity. Thus, the argument that Hamlet is tr uly mad refutes his ability to act rationally and discounts the dramatic device of Ophelia (as Lear is to Edgar) as a contrapuntal example of true insanity.