This post is written in response and as part of a twitter conversation with Martin Sketchley – @ELTexperiences on Twitter. His blog post on his own Dogme observed lesson can be found at the end of this post.

In the days before writing his experimental asignment for the DELTA course, Jonathan – my trainee of last summer – worried a lot about whether he should attempt this or not and whether a lesson plan was in order – in the days that ensued, I asked Scott Thornbury on twitter and this was his very kind response:

Doing a Dogme lesson

Jonathan, was properly flattered and smitten with the wonder of twitter and immediate feedback and started working up to this lesson

Eventually, he finished his assignment and lesson plan and you will be able to find it here and download assignment and ‘plan’, more of a diagram really

https://www.box.net/shared/ufqsgzo3j3

According to him, the lesson did not go very well. After he had completed his assignment, he wrote this very disappointed blog post

It truly did not matter whether the lesson worked or not; the reflection which follows a failed attempt to implement something new, something outside one’s comfort zone is perhaps much more valuable than an incidental and mechanically produced “success” – which can happen too, if you are experienced and versatile.

But here is Jonathan’s beautifully crafted diagram – it bears a lot of discussion why this lesson did not perhaps live up to its creator’s expectations. Jonathan himself has identified some of the reasons in this post lesson evaluation and discussion as well as in his blog post where he lets off a bit more steam!

Here is his diagram though – submitted as a nice alternative to column style planning.

Related Blog post

Martin Sketchley’s Unplugged Teaching Practice – Formal Observations

Postscript

Forgot to mention that this post and materials upload was with the full consent of Jonathan Aichele – I felt it was not appropriate to post before his Module 2 results to were issued, but now that he has got through this Module with flying colours… well, the sky’s the limit and on to Module 3, Jonathan, right?

Reading is a highly complex activity and, yet, in the foreign language classroom, it is often approached as if texts are just collections of words and grammatical patterns which students, if only they could analyse and decipher them, would be able to arrive at the overall meaning of the text.

But, is this what happens when we read in the world outside the classroom? Wouldn’t it take forever to read anything if that is what we did?

When we read (think about you, reading these lines) we engage in a series of decisions,  interpretations and reinterpretations of the stream of text we are involved in processing but, do we do this merely at word and phrase or sentence level?

In this post, I would like to highlight the role of previous knowledge in interpreting textual meaning and have my readers think how they could translate this into best classroom practices in teaching their learners to be effective readers.

The diagram below shows two things:

1) the types of knowledge readers make use of in order to understand a text, beginning with what they already know about the subject, of similar texts, of type of publication and specific reason for which something was written as well as linguistic knowledge they possess.

2) the order in which this prior knowledge is put into use, with linguistic knowledge put to use last rather than first, in other words, processing is effected from the top-down rather than from the bottom-up, with bottom-up exploration coming into play when the reader encounters difficulties interpreting/understanding part of a text.

This is what we do as readers in the real world – in which we are not only accomplished in the language in which the text is written but, moreover, we have both reason and desire to read.

Language learners who are not accomplished readers, will, unless trained by their teachers, usually begin processing at word and sentence level, in effect trying to arrive at the overall meaning by first understanding all the small and local nuts and bolts of each text. This makes for slow, laborious and unmotivated reading.

Here is a diagram which represents the levels and types of knowledge we use to achieve understanding of a text.

Adaptation of a chart created by Anderson, A. & Lynch, T. 1988, Listening, OUP (p.13)

The diagram I have adapted from the original by A.Anderson & T.Lynch (1988) is an attempt to make a case for engaging our learners in activities prior to reading which will activate schematic/background knowledge, and will bring contextual knowledge into play as further ammunition for help in interpreting – thus, it is hoped that our learners will learn to make use of top-down processing;  bottom-up processing will be put into effect when they encounter meaning difficulties, when there is a need for reading between the lines, for text interpretation at a deeper level or for identification and recognition of language features which we wish to have them notice and be aware of.

Activating Prior Knowledge – Advance Organisers

“If I had to  reduce all educational psychology to just one principle, I would say this: The most important single factor influencing learning is what the learner already knows. Ascertain this and teach him accordingly”

Ausubel, D. P. (1960). The use of advance organizers in the learning and retention of meaningful verbal material. Journal of Educational Psychology, 51, 267-272.

This is something I read only very recently, but it rang a variety of bells which first started ringing when I studied psycholonguistics at university and first heard this term in relation to the processing of discourse (whether spoken or written). I am going to try and make a connection between the concept of advance organisers which D.P. Ausubel introduced to the idea of facilitating learning by activating previous knowledge and top-down processing which is perhaps more familiar to foreign language teachers.

Graphic Organisers

A typical example of an advance organiser or sometimes called graphic organisers, would probably be some type of diagram which the learners would be involved in actively completing prior to reading a text  You can view more examples here and here

In ELT terminology, graphic organisers go by the name of “information transfer‘, a term first coined by H.G.Widdowson (1979) who identified them as excellent bridges between what he called ‘comprehension’ and ‘composition’, in other words, receptive understanding and productive skills work, speaking or writing.

Widdowson doesn’t describe exactly the same use of information transfer as I am suggesting here; but I see no reason why his ideas should not be combined with the concept of advance organising, tuning in the learners’ mind into a topic by drawing on available knowledge, not only of facts and information but of language as well – something which is of great interest to the language teacher.

Understanding the relationship between information transfer and different genres is a really useful idea, as different types of diagrams suit different text types, for example, a flowchart diagram will usually be appropriate if a text has sequential information – narrative, instructions, a process description.

Here is an example I have used with a newspaper article with the following title:

Husband tried to kill his wife 7 times

© Marisa Constantinides 2002

After a brief lead in in which the students look at the headline and see that the husband’s attempts were unsuccessful, the table above gets them to think and predict what different methods he may have tried to use and possible reasons why he may have failed; this aims to activate prior knowledge of such events, as well as related linguistic knowledge; it aims to stimulate curiosity by personally investing in this type of guesswork. By the time the students are allowed to read the text, they are really just checking to see if their guesses were the right ones.  The same diagram is used for checking up with the text ( diagram as bridge). Later, if you like and are so inclined (:-) ) you can get them to use the same diagram to invent a fictitious failed criminal who failed to rob a bank 7 times or something similar.

(If you are curious and want to have a look at the text, please go to my Materials & Downloads page and you will find it in the folder called SEETA Reading Course)

The most popular and simple graphic organiser which is used by many educators (not only ELT teachers) looks like this and it is easy to put up on a board, on a google document or even a Wallwisher!

Mind maps are also a great ways of connecting ideas and because they can be expanded and added to very easily, with the additional benefit of appearing to resemble the way our brain organises information, making connections and subconnections and creating associations. Mindmaps can be created by Ss by using large sheets of paper or, online, there are many website which offer free applications – here is an example using Mindomo

This example of a mindmap explains the uses of mindmaps and includes a great number of ideas useful to teachers.

How to use mindmaps @Paul Foreman http://www.mindmapping.com/

Cues or Prompts

I am using the term here in a different sense to how it is used in audionlingualism, in which the teacher supplies a verbal or non-verbal prompt for a student to reproduce a language pattern.

Cues or prompts in pre-reading activities may also be verbal or non-verbal but their purpose is to generate anticipation and predictions related to a text the learner are about to read. They can be simple or complex; for example, a series of controversial statements which the students must discuss before they read a text is still a prompt, albeit a more complex one.

Here is an example of such a prompt I have used to generate predictions related to a story the learners are about to read.

Questions Please Activity Based on these Prompts

A list of key words or key phrases may also act as a prompt; the learners can use these to guess the topic or they can be asked to choose which ones might be expected to be included in a text with a specific title or headline. In the case of working with a whole book, the size or amount of text may vary and it may include predictions about plot, character, themes and settings.

Questions

The concept of questions to elicit prior knowledge and generate predictions is a familiar one, in which the teacher may lead the learners into thinking about a topic by asking a variety of questions. This type of lead in is just one of the many available but, in reality, most often used because it requires minimal materials preparation.

Again, more often than not, this type of dialogic model tends to place the teacher at the centreand may  generate more teacher talk –  your choice to follow or not.  A teacher can avoid this by writing up the questions on the board and asking learners to discuss in pairs or by assigning one or two questions per pair or group to discuss and present to the rest of the class.

The Q & A format could be seen to exist in advance organisers as well; a heading in a table or graph is, in a fact a question, isn’t it?  The only difference being the format.

I personally tend to prefer questions asked by the learners themselves.

For the learners to ask their own questions about a text they are going to read, they may need one or more prompts. for example the prompt example above can be used by the class/groups to ask the teacher questions about the narrative, but only Yes or No questions – than, based on the teacher’s answers, they can be invited to try and construct the text from the answers and the prompts before they read it.

Or, they can be shown the “husband tried to kill wife 7 times’ headline and be asked to brainstorm as many questions as they think/hope the article will answer to satisfy their curiosity . The questions can be shared by all or not but the learners are then asked to read with their own questions in mind – not the teacher’s or the book’s.

Final Thoughts

I have been trying to argue the case for creating a range of activities which will

• engage the learners prior to reading a text
• prime them and motivate them to read
• promote top-down processing of the written text
• create a bridge to later stages in the lesson
• increase flow/task accountability from stage to stage
• lead to focused and purposeful reading
• provide a stimulus for follow up productive skills work.

Advance organisers can be great tools for this, but stimulating learner curiosity, excitement and motivation to read can be further enhanced by other cues/prompts and types of questioning. So, combining, mixing and matching for text, diagramatic display, sound and visual stimulation can work even better and stimulate different learners in different ways.

Diagrams (or information transfer or graphic organisers … )  have additional value however.

Their added value to other types of  priming activity is their ability to demonstrate logical links between ideas or hierarchical relationships. Once comprehension of a text has been achieved, the text can be taken away from the learners but the diagram remains available as a prompt which can generate further oral or written work.

Related Reading

Book

Widdowson, H.G., 1979, Explorations in Applied Linguistics, Oxford University Press (pp. 73-74)

*You can download this book freely from the publisher’s website

Articles & weblinks

1. Graphic Organizers lists a nice range which is also related to discourse type
2. Graphic Organizers and Implications for Universal Design for Learning: Curriculum Enhancement Report
3. Cues, Questions & Advance Organizers some key research findings in summary
4. http://www.gliffy.com/ you can make a variety of diagrams online for free
5. http://creately.com/ (as for 4)
6. Larry Ferlazzo’s listing of mindmapping and flowchart tools
7. Shelly Terrell ‘s recording of awebinar on graphic organisers here!
8. Mindmapping tools on the web: Edraw Mind Mapping Mindomo (free) and Tony Buzan’s software (

• What are the good things you can draw from each of the approaches labelled traditional?
• How have you adapted them or changed them/renovated them and how do you integrate them into your teaching practice?

The discussions during the #ELTchat of November 10 had us running in two directions: there were those colleagues who wanted to leave everything old and traditional behind and there were those who had perhaps a more thoughtful and measured approach, arguing that a sound pedagogy involves sometimes satisfying the learners’ need for explanation or for some more traditional types of exercises…

Please read the transcript of the chat here, some of the major tweets here and listen to a great interview by Jeremy Harmer here if you haven’t.

So, what are the good things I have drawn from different approaches labelled traditional?

The attention to form and accuracy inherent in the grammar-translation approach is something which attracts me, perhaps because I am a teacher of English and studied Linguistics, but I accept the fact that the majority of foreign language learners do not share the same interest in language analysis (but some do), so attention to form and accuracy is something I consider important, although I would not use the same methods as this approach.

From the audiolingual method, which emphasizes controlled oral practice, albeit in the form of mechanical and often meaningless drills, I am attracted to the concept of rehearsal and using meaningful and, more often, personalized oral practices; I do believe they aid the automatization of certain lower level decisions, such as sound and sound linking articulation and the memorization of chunks and holophrases seems quite useful, especially for the beginner learner.

But there are so many activities I like from the different approaches, this post could turn into a rambly personal list. I would rather continue with some ideas of how I have used some of the typical activities in two ‘old’ approaches in a new way.

Grammar Translation

In this method:

• A text is read  aloud – usually by the teacher
• The teacher explicates the text and the vocabulary by offering translations
• The teacher analyzes the grammatical patterns in the text
• Then the students read the text aloud and translate it
• Then they answer some comprehension questions
• Afterwards, they do a number of exercises (gapfills, transformations, etc)
• Often they do dictations based on the texts

Adaptation 1 – Using translation to improve a text in English

• A badly translated text is selected. The example below is from a product found on the supermarket shelf
• The students are asked to translate it back into their mother tongue
• The students are asked to notice which parts of the text have been badly translated
• The students are asked to edit and improve the translation into accurate and natural to the genre English

Comment In this way, the students are encouraged to reflect on the negative effects of translating word for word and practise grammar, vocabulary as well as text editing skills.

An alternative to the text – the video is about a badly translated interview – quite funny but practises listening, too. This one is quite advanced and focuses on tenor as well.

Adaptation 2 – Using mechanical transformation exercises to promote reflection and language awareness

• A transformation exercise is given to the students
• They have to transform sentences from the active to the passive voice or vice versa
• It is impossible for all the sentences to be transformed and to make sense
• Even when you can change them, there will be a difference in meaning
• Students are asked to discuss how the meaning changes

Example sentences

1. Many children did not receive their new coursebooks.
2. “Someone has slept on this bed!”, said the princess.
3. Her dress touched the ground.
4. Frances was married to Ed for five years.
5. etc.

Comment: This is a good activity for showing the learners that transforming sentences is usually not a great idea and that L1 users have specific (although unconscious) reasons for choosing one or the other form. Adaptation 3 – Getting the students to ‘explicate’ and comment on the text (rather than the teacher)

• A text is projected line by line on an overhead projector or data projector
• The text is constructed in such a way that with each line a new interpretation is possible
• The students try to interpret and re-interpret the text with each line which is revealed

Here is an example in a powerpoint. Try to interpret the text and imagine what is happening by pausing before each new line is revealed.

Adaptation 4 – Getting the students to ask the questions (instead of the teacher)

• Cut up a suitable passage into two sections.
• Assign one to each student in a pair.
• Each student reads their part of the text and prepares to summarize it orally
• Students present their summaries to each other orally
• Tell the students they have to reconstruct their partner’s text
• Allow them to ask as many questions as they can/like within a time limit
• Remove their texts and ask them to write
• During writing it is up to you whether you allow more questions or not
• When the writing phase is over, the students can try to correct each other’s work
• Allow them access to the texts for a final check

Comment: This activity is a variation of jigsaw reading in which the reading is integrated with speaking, writing, and promotes information sharing as well as quite a lot of grammar awareness, word order, vocabulary recall, etc. Adaptation 5 Getting the students to ask comprehension Questions (instead of the teacher) Give the students a very short text such as the one below. Introduce it as you usually do for other texts with lead in, scanning etc. Here is an immage created by Jenny Gountani, one of my August 2010 CELTA trainees for a great lead in and prediction!

Drawing by Jenny Gountani, August 2010

• Divide the students into pairs/groups or teams depending on the size of your class
• Get them to ask as many questions which the article does not answer
• At the endof time have teams ask their questions and the other teams supply imaginary answers.
• Later, you can ask them to select some of the answers in order to write a fuller version of the article.

Comment: This activity encourages question and answer practice, it’s quite a lot of fun to do and  if you get the students to rewrite the article, they are practising elaboration, an aspect of creative thinking. Adaptation 6 Translating articles from the mother tongue and adapting them for an English audience

• Bring a few local newspapers into class (good for monolingual classes)
• Have your students choose an article which is of local interest only
• Give them some bilingual dictionaries or access to online dictionaries
• Ask them to translate and adapt this article to be published in an English speaking newspaper
• Encourage them to make as many changes as they think are necessary to make it suitable to someone who is not familiar with the local culture and customs.
• Be available for help with grammar and to confirm lexical choices, idioms etc.

Comment: This activity promotes awareness of the students’ own culture as well as the target language culture. From the Audiolingual approachIn this method:

• Students listen to a dialogue
• They repeat the lines for memorization
• Certain key words are substituted
• The students act out the dialogue
• Then selected patterns are drilled

Adaptation 1:  The students act out a dialogue ‘with an attitude’

• Students listen to a dialogue (e.g. from the coursebook)
• They listen and repeat for memorization
• Then, they choose an adjective or adverb from a poster or the board
• Each pair rehearses their dialogue using the attitudes they have picked
• Later, they act them out – rest of class must guess which adverbs they picked

made with wordle.net

Comment: This can be done with a dialogue in a PPP lesson too – you can allow variations to the theme of the dialogue or the creation of parallel dialogues which have to be enacted by adopting a new attitude. The rehearsal stage needs some monitoring and it is a particularly useful activity to raise awareness of intonation in its attitudinal function, something which is usually quite difficult to practise in class. Adaptation 2 Using substitution tables as “sentence machines” for sentence competitions

• Write or project a substitution table
• Organize students in groups or teams
• Set a time limit and get them to make as many possible sentences
• Untrue sentences are more fun than true ones and students remember them more!

Here is an example I have given to young learners

Comment: The activity is very mechanical but quite good fun and the crazier the sentences, the better the students remember them! I think  should stop here – you get the idea I think that everything can be used in a different way, as long of course as we have a good reason for using the technique with a particular class. I look forward to your comments and more great ideas from your blog posts.

Inspired by the #ELTchat of November 10, 1020, here is a blog challenge to collect and learn how you use traditional practices in your modern innovative class

The topic we discussed was:

When you think of traditional ELT approaches, are they all totally bad? What are good things you can draw from each of them?

You can read the transcript of the #ELTchat here but I would like to highlight some tweets which I thought were turning points in the conversation:

The first one was one of many similar tweets – but I felt this one really expressed well the way I think about sound teaching practice:

Later, Chuck Sandy came out with this great statement:

Then Luke Meddings stepped into the conversation and signed a death warrant for PPP….

…to which Jeremy Harmer replied with this comment:

Later, I interviewed Jeremy Harmer on the topic of this #ELTchat and you can listen to his comments expanding on this particular statement in the podcast of the interview here .

So here is the blog challenge:

What traditional techniques do you still use in your classes and how have you changed them or adapted them to suit your own style of teaching and the particular needs of your learners?

• What are the good things you can draw from each of the approaches labelled traditional?
• How have you adapted them or changed them/renovated them and how do you integrate them into your teaching practice?

In some contexts, grammar translation may be the only approach teachers consider traditional, but don’t forget to include other approaches and methods, such as the Audio-Lingual Method, the Presentation Practice Production model of early Communicative Language Teaching and more.

If you decide to take up this challenge, please link back to this post where all the posts collected will be listed.

I look forward to reading and sharing your blog posts. I look forward to learning from you.

Some useful reading about approaches & methods if you need to brush up:

• A brief History of Language Teaching from 1853 – 2003  from the IH World journal has a great review of the various approaches and is well updated
• Communicative Language Teaching today by Jack Richards (co-author of ) examines CLT in the light of previous approaches and sets the 60′s as the end of Phase 1 (what this blog challenge is about), what we now call traditional approaches.
• Materials and Methods: Need they be in conflict? (1997) conference paper by George Vassilakis in which he looks at the connection between the different approaches and coursebook materials.

Do suggest other texts which you have found to be useful.

Blog Posts in Response to this Challenge:

Old techniques die hard | A Journey in TEFL

~.~

CCQ’s in the TEFL jargon which we all love to use are those questions which you need to ask right after you have taught something, be it a grammar point of a functional exponent, and they are also the questions you need to ask right after you have explained an activity to your class which you think may need clarification.

Generations of my CELTA, TEFL and DELTA trainees have agonized over their CCQ’s and this is a short article to help them as I have not found much written on them in the standard methodology texts which I recommend.

Souree: Microsoft Clip Art

Imagine you have just presented the following words using the techniques listed next to each one.

1. thumb you  put up and then pointed to your thumb

2. pet you pointed to a magazine picture of a dog

3. starving you rubbed your stomach and pointed to your mouth

Now, how can this be misunderstood you might ask? Well, in several ways and here are some: ‘thumb’ may be taken to mean ‘any finger‘ (or even “hitch-hike‘!), ‘pet’, the particular dog breed in your picture and ‘starving’ may be understood to mean  ’I have stomach-ache‘ or even ‘I’m feeling sick‘. Not all your students, I hasten to say, will have necessarily misunderstood, and, if so, not all in the same way! There are infinite possibilities for all sorts of levels and kinds of misunderstanding.

What is the most popular way of making sure students have understood?

Yes, you have guessed it : ‘Do you understand?‘  or ‘Have you understood?‘ or ‘Is this clear?’ and all its possible permutations, down to “OK”?

And what is the usual answer we get to such questions? Of course, it is a ‘Yes’ in most cases! For one thing, most students either like their teachers and do not want to hurt their feelings by implying that their explanations were not clear.

Others fear their teachers and hesitate to commit themselves like this, and still others are afraid of the ridicule of their fellow students. Confronted with a publicly addressed question of this type, most people are unwilling to admit lack of comprehension.

Think of yourself in a similar situation. You are attending a lecture or seminar and the speaker is making a point totally beyond your grasp. How many times have you boldly put up your hand and – faced by all your colleagues – honestly admitted to your lack of comprehension?

I, for one, very rarely. If someone else has the courage to do it, I’ll nod as well and murmur my agreement, but, like most people, I assume it was my fault. Naturally, I don’t want others to know I am not as clever as they are! In the language classroom, however, it is our business and our job to check this and should not rely on the boldness of one or two students.

And if I Translate?

Many teachers feel you can’t go wrong when you provide the mother tongue equivalent. The word or phrase, however, may involve an idea, a concept, a behaviour, or even a value which may be alien to our learners even in their own native language, either because they are too young, or their language does not express the notion in the same way, or for cultural reasons.

One of our trainees recently tried to teach the concept of a ‘celebrity interview’ to our refugee beginners from Afghanistan and even tried to find the words in Farsi through an oline dictionary. This met with little success as, apparently, there are no life style magazines which publish that sort of thing in their country, something which the authors of Headway Beginner did not perhaps anticipate.

Concept Checking Questions (or CCQ’s)

These questions which teachers will ask to find out how much their learners have understood. They are designed to demonstrate evidence of or lack of understanding and they are usually very simple and carefully staged.  For example, to return to my original teaching examples you might ask the following:

• thumb  - The teacher asks the class to show their thumbs. Then s/he points to any other finger (or toe!) and asks if that is a thumb
• pet – The teacher asks: Is a cat a pet? A dog? A cow? Where do we keep them? Can they live in the jungle? Do they hunt for their food?  Who feeds them?  Are they usually working animals?  Which animals in this picture are pets?
• starving – The teacher may ask: Do I need to eat or drink? Do I need any medicine/pills? Have eaten some bad food? Am I hungry or sick? Am I just hungry or very very hungry? How long ago did I eat?

In all of the above cases, the teacher has to make a decision whether or not to re-explain or to start from scratch, or to take remedial action of another type. These are decisions that depend very much on the aims of the lesson or activity and the purpose of the checking of understanding itself.

Checking understanding and checking the state of learning enables the teacher not only to assess whether the students have understood and/or can use the language she wanted to present, but also helps smooth out points of confusion either in terms of the learning material or the activities or tasks she engages her learners in. She also develops as a teacher by noticing what works or does not work in the classroom.

Should CCQ’s be just questions?

Although they are called questions, they don’t have to be. They can be true and false statements, they can be incomplete sentences, they can be questions with a binary choice to help learners or they can be non-verbal ways of checking – in fact, teachers can use any and all the methods they use for the presentation vocabulary or grammar in order to check its understanding, and this includes

• pictures (Which one shows the word?),
• time lines (Which time line fits this sentence?),
• physical activity like miming or demonstrating,
• opposites,
• synonyms,
• definitions,
•  examples,
• explanations,
• and even asking for a translation in the mother tongue or
• asking the learners to say which translation is the most appropriate.

Should CCQ’s be used just for concepts in grammar and vocabulary?

Lack of understanding may involve all the parameters of what knowing a word, phrase, or pattern entails, and this includes form, meaning, function, tenor, pronunciation, collocation, syntax, spelling, word field etc.

And how do we create good CCQ’s?

Usually, the best approach is to follow these three simple steps:

1. Think of the underlying propositions
2. List these propositions
3. Turn the propositions into a series of simple questions

By underlying propositions, I mean the concepts or notions within words, phrases, sentence patterns

An example of a lexical item

thumb

- one of the fingers

- part of the hand

- not part of a foot

An example of a pattern

You should have told me!

- you didn’t tell me

- I am angry

- it was your job to tell me

- now it’s too late

- I missed something because of this

- I am protesting

- I am being critical

- My intonation shows I am upset

- we are friends

- we are peers

- I can talk to you like this

Good concept questions are not easy to write – they require a depth of analytical as well as intuitive understanding of what we are trying to check and not just what the grammar book says. Some of you may even have spotted the links to componential analysis which good CCQ design entails.

And finally, good concept questions, especially for patterns of language, should never include the pattern we are trying to check!!!

Can you think why?

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