1 H E N R Y I V, P A R T 1 C U R R I C U L U M G U I D E FOR TEACHERS AND STUDENTS A companion to the Folger Shakespeare Library Edition
2 I N S I D E T H I S G U I D E Shakespeare is for Everyone! Overview from Folger Education Henry IV, Part 1 Synopsis Characters in Henry IV, Part 1 From One Classroom Teacher to Another Tips for Teaching Shakespeare Teaching Shakespeare FAQs 2 Lesson Plans Famous Lines and Phrases from Henry IV, Part 1 Henry IV, Part 1 Fact Sheet Suggested Additional Resources About the Folger O N T H E C O V E R : Tom Story (Prince Hal) and Rick Foucheux (King Henry IV), Henry IV, Part 1, directed by Paul Mason Barnes, Folger Theatre, Photo by Carol Pratt. See more images of Henry IV, Part 1 from the Folger collection at Image 1) Delaney Williams (Falstaff), Henry IV, Part 1, directed by Paul Mason Barnes, Folger Theatre, Photo by Carol Pratt. Image 2) Louis Haghe. Mr. Macready as Hotspur. Lithograph, 1830s. Folger Shakespeare Library. Image 3) Arthur Rackham. King Henry IV part 1, act V, scene 1. Drawing, ca Folger Shakespeare Library. Image 4) William Shakespeare. The History of Henry IV. London, Folger Shakespeare Library.
3 At the Folger, we love to see students take Shakespeare and make it their own. We believe that Shakespeare is for everyone and that students of all ability levels can successfully engage with his works. S H A K E S P E A R E I S F O R E V E R Y O N E! Shakespeare isn t an antiquated art form. His plays are full of explosive family situations, complex relationships, and deep emotions that today s students can and do relate to. At the Folger Shakespeare Library, we love to see students take Shakespeare and make it their own. We believe that Shakespeare is for everyone and that students of all ability levels can successfully engage with his works. The best way to learn Shakespeare is to do Shakespeare. What does this mean? Put simply, it is getting students up on their feet and physically, intellectually, and vocally engaging with the text. We believe that students learn best using a performance-based methodology and that performance can build a personal connection with the text that traditional teaching methods may not. Performance which is not the same thing as acting activates the imagination. Active learning invigorates the mind and stays with the learner. Shakespeare s genius with language, his skill as a dramatist, and his insight into the human condition can instill even the least academically motivated student with a passion not only for Shakespeare but also for language, drama, psychology, and knowledge. The Lesson Plans and Tips for Teaching Shakespeare included in this Curriculum Guide provide practical, classroom-tested approaches for using performancebased teaching techniques. We have also included a Synopsis, a Fact Sheet, and Famous Lines and Phrases from the play and interesting facts to share with students. Remember that enthusiasm is more important than expertise. There is always more for everyone to learn, so enjoy the ride with your students! Photos from Folger student Shakespeare festivals, classroom visits, and teacher workshops by Mignonette Dooley, Mimi Marquet, Deidra Starnes, and Lloyd Wolf. Robert Young Director of Education Folger Shakespeare Library
4 Above: Kaitlin Manning (Barmaid), Tom Story (Prince Hal), and Matthew R. Wilson (Ned Poins), Henry IV, Part 1, directed by Paul Mason Barnes, Folger Theatre, Photo by Carol Pratt. H E N R Y I V, PA R T 1 S Y N O P S I S King Henry, who had siezed the English throne several years earlier from his cousin, Richard II, is anxious to go on a religious crusade. However, new battles on England s borders force him to stay in England and deal with a potential rebellion. Meanwhile his son, Prince Hal, has been spending time with a disreputable old knight named Sir John Falstaff and living with thieves and drunkards. King Henry worries that Prince Hal s lifestyle is damaging the family s reputation and that the prince is not fit to inherit the kingdom. King Henry faces another conflict when a young nobleman named Hotspur refuses to yield his prisoners to the crown. King Henry accuses Hotspur of being a traitor, and Hotspur joins a plot with his uncle the Earl of Worcester and his father the Earl of Northumberland to oust Henry from the throne. King Henry summons Hal to court, but before returning to his father, Hal stages mock versions of the meeting with Falstaff. At court, Prince Hal reconciles himself with his father by swearing to fight the rebels and defeat Hotspur. Hotspur, Worcester, and others meet in Wales to finalize their plot against King Henry. The king and Prince Hal march out to meet the rebels with a large army. Hotspur learns that Northumberland and other key allies will not be joining him for the fight against the king. As the two armies prepare for battle, King Henry sends a messenger to Hotspur asking him to state his grievances and informing Hotspur that if his grievances are justified, the rebels will be pardoned. Hotspur is tricked into believing that the king has offered no pardon, and he leads his army to attack King Henry. During the fight, Prince Hal and Hotspur meet and after fierce one-on-one combat, Prince Hal kills Hotspur. The king s forces win, and set out to hunt down the remaining rebels. See more images from Henry IV, Part 1 at the Folger collection at
5 H E N R Y I V, P A R T 1 C H A R A C T E R C O N N E C T I O N S Lord John of Lancaster younger son of King Henry IV Earl of Douglas captured in rebellion The English Court King Henry IV formerly known as Bolingbroke, Won the throne by defeating Richard!!! Earl of Westmoreland ally of King Henry IV Prince Hal Prince of Wales, heir to the throne, aka Harry Monmouth Archbishop Richard Scroop, archbishop of York Sir Walter Blunt an English knight Sir Richard Vernon an English knight Sir Michael a priest or knight asociated with the Archbishop The Welsh Faction Earl Of Northumberland Hotspur s father Earl of Worcester Thomas Percy, Hotspur s uncle Hotspur Sir Henry Percy Owen Glendower a Wesh Lord, father of Lady Mortimer Lady Percy wife to Hotspur, also called Kate Edmund Mortimer Earl of march, brother of Lady Percy Lady Mortimer also called The Welsh Lady, daughter of Glendower Mistress Quickly hostess of the tavern Vintner owner of the tavern Tavern Rogues Gadshill Earl of march, brother of Lady Percy Nym Earl of march, brother of Lady Percy Sir John Falstaff a portly knight, friend to Prince Hal Bardolph also called The Welsh Lady, daughter of Glendower Francis an apprentice tapster Peto Earl of march, brother of Lady Percy Poins also called The Welsh Lady, daughter of Glendower CHARACTER KEY Main Characters in white Secondary Characters in black
6 F R O M O N E C L A S S R O O M T E A C H E R T O A N O T H E R Henry IV, Part 1 deserves to be acted because it is full of vivid characters in memorable places. Dear Colleagues, If history weren t precisely as Shakespeare represents it in Henry IV, Part 1 it should have been. The play is full of action and memorable characters. Its concerns are timeless: the transfer of power, the nature of honor, the question of courage, the strength of love. Henry IV, Part 1 is a marvelous play to study with adolescents because it is about Prince Hal s rites of passage: he rebels against authority, chooses reprobates for friends, imitates heroes, assumes responsibility, and mourns lost childhood. I like to teach in thematic across-cultural and across-time arrangements. If you are at liberty to invent thematic units, Henry IV, Part 1 is a good fit with works about the search for identity like The Illiad, A Doll s House, Great Expectations, The Awakening, Death of a Salesman, Metamorphosis, Jane Eyre, The Wide Sargasso Sea, or Hamlet. And in a nice shift from many of these, the protagonist survives. Henry IV, Part 1 deserves to be acted because it is full of vivid characters in memorable places. As your students informally perform while reading their lines, they will understand Hal and Hotspur and Kate and Falstaff, even King Henry, because they will see themselves, their friends, their relatives, and their political leaders in these characters. I hope your students and you find your study equally enjoyable. Andrea Alsup Hanover High School Hanover, New Hampshire See performance-based teaching strategies in action at Excerpted from Shakespeare Set Free: Teaching Hamlet and Henry IV, Part 1
7 T I P S F O R T E A C H I N G S H A K E S P E A R E Performing Shakespeare even at the most rudimentary level, script in hand, stumbling over the difficult words can and usually does permanently change a student s relationship with the plays and their author. At the Folger, we believe that Shakespeare is for everyone. We believe that students of all ability levels, all backgrounds, and at all grade levels can and do successfully engage with Shakespeare s works. Why? Because Shakespeare, done right, inspires. The plays are full of explosive family situations and complex relationships that adolescents recognize. Performance is particularly crucial in teaching Shakespeare, whose naked language on the page may be difficult to understand. Performance in this sense does not mean presenting memorized, costumed, fully staged shows, although those can be both satisfying and educational. Performance means getting students up on their feet, moving around a classroom as characters, and speaking the lines themselves. Remember: 1. Enthusiasm is more important than expertise there is always more for everyone to learn, so enjoy the ride with your students! 2. Trust Shakespeare s original language, but don t labor over every word. 3. Pick out key scenes that speak most clearly to your students. You do not have to start with Act 1, Scene Use the text to explain the life and times, not vice versa. The following two Lesson Plans will give you practical ways to get started using this approach in your classroom. Want More? Folger Education s Shakespeare Set Free Toolkit is a comprehensive resource for teaching Shakespeare, with lesson plans, activity guides, podcasts, videos, and other teaching tools. Learn more at
8 T E A C H I N G S H A K E S P E A R E F A Q S How long does it take to teach a play? A Shakespeare unit can take anywhere from a few days to a few weeks, depending on your students. You may want to spend a few days to introduce the play s major characters and themes, or you could spend a couple of weeks exploring several scenes, key ideas, and multiple interpretations. Full play units, such as the ones in Shakespeare Set Free, can take up to six weeks to teach. You do NOT need to start with Act 1, Scene 1 and you do NOT need to labor over every word. Do I need to teach the entire play? Sometimes it is better to do just part of a play rather than the whole play. Or you might opt for a Shakespeare sampler, using several scenes from different plays. Which edition of the play is best to use with students? The Folger Shakespeare Library paperback editions are relatively inexpensive, and easy to use, with the text on one page and footnotes and scene summaries on the facing page. Be aware that Shakespeare plays in literature anthologies often edit out some of the more bawdy content content which students often love. They are also very heavy to carry around when students are performing scenes. You can install the Free Electronic Shakespeare Reader on your hard drive on any Windows computer at This is a downloadable piece of software that allows you to have all of Shakespeare s 38 plays instantly at your fingertips. Once you have it, there is no Internet connection required. It also provides in-depth full-text searching to all of Shakespeare s plays. You can also download the text online from sites such as Should I start with the movie? One disadvantage with watching a film version first is that students equate this version with the play and have difficulty realizing that scenes and lines can be interpreted and enacted in many different ways. One way around this is to start with one scene which your students read and perform. Follow this activity by showing clips from several film versions of the same scene. This strategy enables allow for some meaningful discussion about possible interpretations. What if I have never read the play before? Learn along with your students model for them the enthusiasm and excitement that comes with authentic learning. Do I need to teach about the Globe Theatre or Shakespeare s Life? The simple answer is No. While telling students that Shakespeare had three children and that he and Anne Hathaway had to get married might be interesting, it really doesn t help them understand the plays. It s much better to integrate some facts about Elizabethan life when they come up in the plays. So when Francis Flute protests, Let me not play a woman. I have a beard coming in A Midsummer Night s Dream, that s the perfect opportunity to explain the Elizabethan stage convention of young men playing the female parts. Are student projects helpful? Designing Globe Theatres out of sugar cubes and Popsicle sticks, designing costumes, creating Elizabethan newspapers in the computer lab, doing a scavenger hunt on the Internet, or doing a report on Elizabethan sanitary conditions has nothing to do with a student s appreciation of Shakespeare s language. If you want to give students a project, have them select, rehearse, and perform a scene. What is a trigger scene? A trigger scene is a short scene from a play that introduces the students to key characters and plot elements. Most important, the trigger scene shows students that they can uncover the meaning of Shakespeare s texts as they put the scene on its feet. Tried and true trigger scenes for beginning Shakespeare: Hamlet, 1.1 (Ghost appears to soldiers) Julius Caesar, 3.3 (Cinna the poet is attacked by mob) Macbeth, onwards (Macbeth meets the witches) A Midsummer Night s Dream, 1.2 (rustic actors are introduced) Much Ado About Nothing, 4.1 (Beatrice urges Benedick to kill Claudio) Othello, 1.1 (Iago rudely awakens Brabantio) Romeo and Juliet, 3.5 (Juliet angers her parents) The Taming of the Shrew, 2.1 (two sisters quarrel) Twelfth Night, 2.2 (Malvolio returns ring to Cesario ) Want More? Folger Education s Shakespeare Set Free Toolkit is a comprehensive resource for teaching Shakespeare, with lesson plans, activity guides, podcasts, videos, and other teaching tools. Learn more at
9 H E N R Y I V, P A R T 1 L E S S O N P L A N 1 The Blood on Henry s Hands Tom Story (Prince Hal) and David Graham Jones (Hotspur), Henry IV, Part 1, directed by Paul Mason Barnes Folger Theatre, Photo by Carol Pratt. Andrea Alsup Hanover High School Hanover, NH Play/ Scenes Covered Henry IV, Part 1, Act 1 Richard II, and Meeting the Standards This lesson plan covers NCTE Standards 2, 3, and 6. What s On for Today and Why To continue with the theme of disorder and violence surrounding Henry IV, students will consider how two speeches from Richard II anticipate the mood of Henry s reign as illustrated by lines from Henry IV, Part 1. This lesson will take one to two class periods. What To Do 1. Explain that King Henry s troubles were predicted in Richard II, a play about his predecessor. Distribute copies of Handout 1, which contains two key speeches from Richard II. 2. With your students, take the passages one by one. Read them aloud a few times, defining words as necessary. It may help students to paraphrase each speech. As you work, answer the questions on Handout Discuss the predictions made in the speeches. Judging from what you have read in Act 1 of Henry IV, Part 1, is there disorder, horror, fear, and mutiny in Henry s kingdom? 4. Point out that although Henry says, The edge of war shall no more cut his master, the play is full of violence and butchery. To illustrate this, distribute Handout 2, which traces the repetition of violent terms. Ask students to read each phrase aloud. Then have students work individually or as a class to answer the questions on Handout 2. What You Need Folger Edition of Henry IV, Part 1 Handout 1: Prophecies of Doom Handout 2: A Usurper s Shaken World How Did It Go? Did students expand their understanding of King Henry s character? Did they gain insight into his unrest, ambition, and need for a pilgrimage to atone for his actions? Want more? Find more ideas and resources on teaching Henry IV, Part 1 at
10 H E N R Y I V, P A R T 1 H A N D O U T 1 Prophecies of Doom Looking back to Richard II, the play before Henry IV, Part 1 in Shakespeare s cycle of history plays called the Henriad, we see predictions that if Henry is named king, England will degenerate into tumultuous wars, corruption, and bloodshed. Passage One: A group of nobles comes to depose Richard II. Knowing that he is overpowered, Richard gives up his crown, which goes to Bolingbroke, also known as Herford and later as King Henry IV. Richard s loyal supporter, the Bishop of Carlisle, predicts: Richard II, What subject can give sentence on his king? And who sits here that is not Richard s subject? Thieves are not judged but they are by to hear, Although apparent guilt be seen in them; And shall the figure of God s majesty, His captain, steward, deputy-elect, Anointed, crowned, planted many years, Be judged by subject and inferior breath, And he himself not present? O, forfend it, God, That in a Christian climate souls refined Should show so heinous, black, obscene a deed! I speak to subjects, and a subject speaks, Stirr d up by God, thus boldly for his king: My Lord of Hereford here, whom you call king, Is a foul traitor to proud Hereford s king: And if you crown him, let me prophesy: The blood of English shall manure the ground, And future ages groan for this foul act; Peace shall go sleep with Turks and infidels, And in this seat of peace tumultuous wars Shall kin with kin and kind with kind confound; Disorder, horror, fear and mutiny Shall here inhabit, and this land be call d The field of Golgotha and dead men s skulls. O, if you raise this house against this house, It will the woefullest division prove That ever fell upon this cursed earth. Prevent it, resist it, let it not be so, Lest child, child s children, cry against you woe! 1. Paraphrase the first two lines. 2. List the horrible things that will happen if Henry is crowned king. 3. How long will these horrible things go on? 4. How does this prediction affect Prince Hal?
11 H E N R Y I V, P A R T 1 H A N D O U T 1 ( C O N T I N U E D ) Prophecies of Doom Passage Two: Richard II addresses the men who betrayed him. Richard II, Northumberland, thou ladder wherewithal The mounting Bolingbroke ascends my throne, The time shall not be many hours of age More than it is ere foul sin gathering head Shalt break into corruption: thou shalt think, Though he divide the realm and give thee half, It is too little, helping him to all; And he shall think that thou, which know st the way To plant unrightful kings, wilt know again, Being ne er so little urged, another way To pluck him headlong from the usurped throne. The love of wicked men converts to fear; That fear to hate, and hate turns one or both To worthy danger and deserved death. 1. What nobleman does Richard mention by name? What part does this person play in Richard s overthrow? What part does that person play in Henry IV, Part 1? 2. What foul sins will happen when Henry is on the throne? 3. When will the sins start? In Henry IV, Part 1, 1.1, Henry talks of going on a pilgrimage. How does this information connect with the sins mentioned in this passage? 4. Based on what you know about how Henry Bolingbroke became King Henry IV, why does Richard II say he is unrightful? 5. Use what you know to make an intelligent guess: Are there people in Henry IV s court who were present for one or both of these prophecies? What effect does that have on Henry IV s power?
12 H E N R Y I V, P A R T 1 H A N D O U T 2 An Usurper s Shaken World From Richard II, we have seen predictions of bloodshed, death, and destruction during the reign of Henry IV. Here is a list of violent images we encounter in Henry IV, Part 1. So shaken as we are, so wan with care we a time for frighted peace to pant No more the thirsty entrance of this soil Shall daub her lips with her own children s blood furious close of civil butchery The edge of war no more shall cut his master balked in their own blood guns, and drums, and wounds many a good tall fellow had destroyed bloody noses and cracked crowns a garment all of blood They come like sacrifices in their trim And to the fire-eyed maid of smoky war All hot and bleeding will we offer them
13 HENRY IV, PART 1 LESSON PLAN 2 Fathers and Sons in Henry IV, Part 1 Tom Story (Prince Hal) and Rick Foucheux (King Henry IV), Henry IV, Part 1, directed by Paul Mason Barnes, Folger Theatre, Photo by Carol Pratt. Susan Biondo-Hench Carlisle High School Carlisle, PA Plays/Scenes Covered Henry IV, Part and Standards Covered This lesson plan covers NCTE Standards 3, 4, and 8. What s On for Today and Why Henry IV, Part 1 explores the political power struggles of England during the early 1400s but, and perhaps more importantly, it also explores the struggle between father and son. Desperately worried about civil strife in England, King Henry IV is also profoundly disappointed in his slacker son, Prince Hal, disappointed to the point that he wishes he could trade his Hal for another man s more goal-oriented son (Lord Northumberland s son, Harry Percy). That s a heart-breaking relationship no matter how one looks at it. Prince Hal, on the other hand, has a game plan of his own. Not only does he intend to live up to his father s expectations, he plans to exceed them, but in his own time and in his own way. Is this degree of independence cruel, kind, selfish, practical, shrewd, or some complicated combination of all of the above? Using journal entries, readings of two key passages, a technology-created word study, and discussion, this lesson provides the students with an opportunity to connect with this historical father and son and the pressures and responsibilities of being monarch and heir. This lesson also encourages students to think about the expectations that exist between all fathers and sons, expectations that transcend centuries. This lesson, which should be completed before the students begin to read the play, will take two fifty-minute class periods. What To Do Introduction/Motivation: 1.Have the students respond to the following questions in their journals. (These questions come from the excellent essay entitled Nice Guys Finish Dead: Teaching Henry IV, Part I in High School by Louisa Foulke Newlin in Volume 2 of Shakespeare Set Free. Be sure to read the essay for more insights into teaching Henry IV!) What does it really mean to grow up? What kind of person do I want to be? Do I want to fill the role my parents have decided I should fill? Can I be myself, separate from my parents, and yet have their approval? Do I need their approval? 2. Read and/or discuss some of their responses, and discuss the relationships between fathers and sons in general. 3. Provide a segue into the study of Henry IV, Part 1 by telling the students that though this play is a history play, it is also very much about a play about what it means to grow up. Part I: King Henry s monologue about Hal 1. Have the students read the monologue in Act 1, Scene 1, out loud several times. (Suggestions for varying the readings: For the first read-through switch readers at the ends of lines; for the second read-through switch readers at the ends of complete thoughts; finally, have one student read the entire passage.) 2. Discuss the passage. What is King Henry saying? Is he a good father? A bad father? How is he like all fathers? How is he different? Homework: Ask the students to read Prince Hal s monologue and to answer the following questions: What is Hal s plan? What do you think of his plan? What do you think his motives are and why?
14 HENRY IV, PART 1 LESSON PLAN 2 Fathers and Sons in Henry IV, Part 1 (continued) Ellen Adair (Lady Percy) and David Graham Jones (Hotspur), Henry IV, Part 1, directed by Paul Mason Barnes. Folger Theatre, Photo by Carol Pratt. Part II: Prince Hal s monologue about his plan to redeem his reputation 1. Have the students read the monologue in out loud several times. 2. Discuss the passage and the homework questions. (Make a list of potential reasons for this strategy is he a calculating politician-inwaiting? a thoughtful young person trying to find his own way? a slacker trying to justify his behavior to himself?) How is Hal like all sons? How is he different? 3. Divide the students into a minimum of three groups, and have each group select a different motive for Hal s behavior. Have each group study Hal s speech and prepare a reading of it based on that motive. 4. Have each group present its reading of the speech. 5. Discuss the readings. How did the different motives shape the different readings? (Consider the way each group handled subtext, stress, and inflection.) Which readings seemed more believable and why? How does each interpretation affect their predictions about the play? Closure 1. Go to the Wordle website. Create a word cloud for King Henry s speech by clicking the Create box, pasting a copy of the speech into the text box, and clicking Go. The program will create a word cloud that randomly arranges the words in the passage. Words that are repeated in the passage are larger and more boldly printed than other words in the wordcloud, so the program ends up creating a beautiful word frequency chart. Project or print out the word cloud and share it with the students. (If you do not have internet access that you can project for the class, print and copy the clouds for the students ahead of time and pass them out.) Ask students to draw some conclusions about this speech based on the words that emerge, and have them summarize the speech in one sentence using only the most boldly printed words. 2. Repeat the same process for Prince Hal s speech. NOTE: Before clicking the Create box for this speech, change the capital S in Shall to a lower-case s. (Using a lower-case s allows shall to receive more emphasis, which is helpful in drawing a meaningful conclusion and avoiding an embarrassing moment!) 3. Ask the students to share their word cloud sentences and any final insights into this father and son pair. 4. Post the word clouds and refer to them when appropriate at later points in the unit. What You Need Folger Edition of Henry IV, Part 1 Internet access How Did It Go? Did the students complete journal entries and discuss the passages in ways that provided some honest insights into father/ son relationships both in connection to the play and to life in general? Did the students present different readings of Hal s monologue that revealed a variety of defensible motives? Were the readings prepared and interesting? Did the summary sentences allow the students to draw some conclusions about this father and son pair? Want more? Find more ideas and resources on teaching Henry IV, Part 1 at
15 According to historical records, both Prince Hal and Hotspur were present at the Battle of Shrewsbury but they did not fight each other. Instead, both men were struck in the face by arrows. Hotspur died almost instantly; the prince survived, but bore the scar for the rest of his life. Hotspur, a rock band based in Washington, DC, is named after the Shakespearean character in Henry IV, Part 1. Orson Welles directed a film version of Henry IV, Part 1 entitled Chimes at Midnight. It was shot mostly in Spain rather than in the English countryside! Scholars believe that Shakespeare wrote Henry IV, Part I in It was published as a quarto in D I D Y O U K N O W? Learn more at Sack, the drink favored by Falstaff, is a strong, sweet wine imported from Spain. Sack comes from the Spanish word sacar to take out, or export. Much of the sack produced in Spain was exported to England. Falstaff is one of Shakespeare s most popular comic characters, and has been played by several notable actors, including Kevin Kline, Robbie Coltrane, and John Goodman.
16 F A M O U S L I N E S A N D P H R A S E S F R O M H E N R Y I V Did you know you re quoting Shakespeare when you say So shaken as we are, so wan with care, Find we a time for frighted peace to pant And breath short-winded accents of new broils To be commenced in strands afar remote King Before I knew thee, Hal, I knew nothing, and now am I a little better than one of the wicked. Falstaff To put down Richard, that sweet lovely rose, And plant this thorn, this canker, Bolingbroke? Hotspur By heaven, methinks it were an easy leap To pluck bright honor from the pale-faced moon Hotspur out of this nettle, danger, we pluck this flower, safety. Hotspur Thou seest I have more flesh than another man and therefore more frailty. Falstaff What is honor? A word Honor is a mere scutcheon. And so ends my catechism. Falstaff But thoughts, the slaves of life, and life, time s fool, And time, that takes survey of all the world, Must have a stop. Hotspur The better part of valor is discretion Falstaff Folger Shakespeare Library.
17 S U G G E S T E D A D D I T I O N A L R E S O U R C E S Shakespeare Set Free The Shakespeare Set Free series offers innovative, performance-based approaches to teaching Shakespeare from the Folger Shakespeare Library, the world s leading center for Shakespeare studies. This volume includes unit plans on Hamlet and Henry IV, Part 1 and day-by-day teaching strategies that successfully immerse students of every grade and skill level in the language and the plays themselves created, taught, and written by real teachers in real classrooms. Available at the Folger Gift Shop , or Shakespeare Set Free Toolkit Think of it as Shakespeare in a box! Everything you need to teach Shakespeare, all in one place: the Doing Shakespeare Right guide to getting started; Shakespeare Set Free curriculum guide; two-line scene cards; a flash drive with instructional videos, podcasts, handouts, scripts, and images; The Play s the Thing DVD that follows a 5 th grade class preparing for a festival; and the Macbeth Edition DVD, which includes a film of the smash 2008 Folger Theatre/Two River Theater Company production. Available at the Folger Gift Shop , or Play-by-Play: Henry IV, Part 1 Folger Education s Play-by-Play website section contains resources on each of the most commonly taught plays, all in one place. Find Twelfth Night lesson plans, podcasts, videos, and more. Learn more at Making a Scene: Shakespeare in the Classroom Folger Education s blog features new ideas, tips, and resources for teaching Shakespeare. With the teaching community commenting, Folger educators explore what works and what doesn t in today s classroom. Join the conversation! Learn more at Bard Notes A monthly update just for teachers with our newest classroom activities, lesson plans, teacher workshops, and more for K 12 educators. Learn more at
18 O N L I N E R E S O U R C E S A world of digital content inspired by the Folger collection and programs. Folger Education Shakespeare Lesson Plans Play-by-Play Resources Shakespeare Games & Activities Shakespeare s Life & Theater Podcasts & Video Shakespeare in American Life Folger Collection Teacher Workshops A B O U T T H E F O L G E R Ask a Librarian Folger Shakespeare Library is a worldrenowned center for scholarship, learning, culture, and the arts. It is home to the world s largest Shakespeare collection and a primary repository for rare materials from the early modern period ( ). The Folger is an internationally recognized research library offering advanced scholarly programs in the humanities; an innovator in the preservation of rare materials; a national leader in how Shakespeare is taught in grades K 12; and an award-winning producer of cultural and arts programs theater, music, poetry, exhibits, lectures, and family programs. By promoting understanding of Shakespeare and his world, the Folger reminds us of the enduring influence of his works, the formative effects of the Renaissance on our own time, and the power of the written and spoken word. A gift to the American people from industrialist Henry Clay Folger, the Folger located one block east of the U.S. Capitol opened in Our Folger Education division is a leader in how Shakespeare is taught today. It provides online resources to millions of teachers and students in grades K 12 each year, trains teachers across the country in performancebased teaching of Shakespeare, hosts student Shakespeare festivals and family programs, and publishes the groundbreaking Shakespeare Set Free series and the Folger Editions, the leading Shakespeare texts used in American classrooms today. 201 East Capitol Street, SE Washington, DC
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30 B1 How to support learning Paul Kloosterman This chapter aims to help you get to grips with the term learning in relation to concrete activities in the Youth in Action Programme. Different methods and